When Gioachino Rossini began composing William Tell in 1828, little did he know that it would be the swan song of his operatic career — while the Italian composer would continue to compose cantatas and vocal music and live for another 40 years, he would never again compose another opera.
Any performance of this Rossini masterpiece — his 39th opera — therefore brings upon it a critical dissection and the long history of its cultural plundering in the subsequent centuries (think of the theme music for The Lone Ranger, Mickey Mouse cartoons and Reebok ads).
But the spellbinding performance of its overture by the Trieste-based orchestra of the Giuseppe Verdi Theatre (Fondazione Teatro Lirico Giuseppe Verdi) at the spectacular Dubai Opera on Monday night successfully unshackled the piece from its burden of popular deviations — unfolding before the packed audience a true taste of vintage Rossini instead.
From the initial lyricism of the cello quintets to the surreptitious pastoral conversation between the horn and flute in the third part to the grand final coda initiated by the trumpets and then joined by the full orchestra — punctuated by the thunderous frenzy of the cymbals — the opening act at the Opera Without Words set the tone for what was a unique and memorable evening in Dubai.
The Teatro Lirico Giuseppe Verdi di Trieste has a long and illustrious heritage that dates back to its inception as a permanent ensemble in 1944, and has performed under the batons of legends such as Herbert von Karajan, Leonard Bernstein, Riccardo Mutti and Sir Neville Marriner. On Monday night, the orchestra was conducted by Francesco Quattrocchi, a dynamic protege of maestro Donato Renzetti.
The first half was expectedly dominated by Rossini, with three more overtures from L’italiana in Algeri, La gazza ladra and La scala di seta putting on full display the versatile repertoire of the orchestra as well as some signature passages of the Italian master. Of these, the interpretation of La gazza ladra particularly stood out for its dramatic opening notes and exceptional tonality of the string ensemble. The second half saw a healthy mix of more Italian composers — from Verdi, the inspiration behind the orchestra and the Trieste opera house, to some exquisite intermezzos by Puccini, Leoncavallo and Mascagani.
But the piece de resistance of the evening was the sublime sounds from the most popular part of La Gioconda — the Dance of the Hours. This famous finale of Ponchielli’s opera depicts through the passage of time, from daybreak to midnight, the eternal struggle between the forces of light and darkness, and Quattrocchi and his orchestra proved their mettle with the vivacity with which they brought it to life, from the pathos of the day turning to evening to the explosive can-can that ends the ballet piece.
A standing ovation and encore were in order at the end of the show — the latter duly obliged by the maestro and the musicians.
The concept of an opera “without words” — aka an orchestra performing musical excerpts from operas on stage in a concert hall setting — is not only unique but also offers an excellent initiation into more complex operatic pieces, a tasting menu of sorts if you will. And it takes traditional fans on a whirlwind journey of some of the most dramatic moments in operatic history — close your eyes and you can vividly see the Swiss pastoral settings of William Tell or the ballet scenes from the Dance of the Hours. While such an arrangement lacks the scope of dramatic denouement offered by an opera, the elevation of the orchestra from the pit to the stage is a fitting tribute to the segment which plays a pivotal role in the success of any opera. And Quattrocchi and his orchestra deserved every bit of applause and the chorus of ‘bravo’ that rang out in the hall Monday night.
With its superb acoustics, which perfectly amplify every note, and its flexible settings, a full-scale encore of Opera Without Words for the next season of Dubai Opera would be a very enticing prospect for fans in the city and beyond.
Insider tip
Take the advice on the ticket seriously — factor in the typical evening traffic on Shaikh Mohammad Bin Rashid Boulevard and aim to arrive at least 45 minutes ahead of any show, so that you have plenty of time to find your way around and your gate in the grand but sprawling surroundings of Dubai Opera.
