Strong singing, inventive set boost ‘Italian Girl in Algiers’

OPERA REVIEW

July 29, 2011|By Matthew Guerrieri, Globe Correspondent
(Page 2 of 2)

Soprano Sara Jakubiak unleashed fine, high-gloss brightness as Elvira, Mustapha’s long-suffering wife. David Kravitz resourcefully wrung a fair bit of character out of Taddeo’s nervous perplexity while lavishing a deep, ringing baritone on his lines. David Lara and Julia Mintzer made accomplished impressions in supporting roles; a quartet of henchmen (Sean Lair, Michael Kuhn, Stephen Humeston, and Joshua Taylor) were subtly funny. Leading an 18-player, chamber-scaled pit, conductor Susan Davenny Wyner overcame some first-act coordination slips and settled into a solid performance, slightly heavy-edged, but with a sense for moments of lingering, teasing rubato.

The end of the first act features that Rossini specialty, an intricate, frozen-time chorus, perusing the company’s sheer stupefaction at the plot’s complications, and for once the production soared into joyous nonsense so transcendent that, paradoxically, the characters and the dramatic stakes briefly took on unsuspected depth. That rarified giddiness was otherwise absent; to paraphrase Niels Bohr on quantum theory, this “L’Italiana’’ was crazy, but not nearly crazy enough to be true.

Matthew Guerrieri can be reached at matthewguerrieri@gmail.com.

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