Annabelle Drumm

OPERA AUSTRALIA PRESENTS ‘IL VIAGGIO A REIMS’

The composer Rossini is so frequently linked to Italian opera that it is often forgotten he spent several years in Paris writing operas with French libretti. It was a strange time politically. The French Revolution had come and gone and now, France had a king again, Louis XVIII. Rossini had been offered a lucrative contract with the French Government in 1824 but, soon after his arrival in Paris, Louis passed away. This suddenly made the first project for Rossini to be a work celebrating the coronation of Louis’ successor Charles X. It was the perfect occasion to show off Rossini’s extraordinary talents but to also showcase a large cast of the best singers in the industry. Il Viaggio a Reims (The Journey to Reims) was a comic drama – his last opera in Italian – about a group of socialites heading to the very same coronation, getting waylaid on route and deciding to give up on the coronation. Instead they would head to Paris where the bigger parties would be happening soon thereafter.

For fun, the artists were cast in roles from different countries where they could make a farce of cultural stereotypes. At the same time they could poke fun at the lack of action from a bored nobility and bourgeoisie stuck mid way between cities in a hotel who couldn’t be bothered with formal ceremonies such as a coronation. 14 soloists were required to sing the virtuoso parts and Rossini meant for the work to only be performed 4 times, before dismantling the score and using it’s material for future projects.

However, in the 1970’s American musicologists started their mission to collect all the pieces of the original Il Viaggio de Reims score from libraries around the world to revive the work. How to refresh the storyline? Not everyone is keen to praise royalty to the heavens these days so this version of the opera changes the storyline completely. Instead of being in a hotel we move to an Art Gallery. No longer are the characters on route to a coronation. We have a mythical mix of humans and artworks working their way towards creating the great painting by François Gérard of the Coronation of Charles X of France.

The sets and costumes are fun beginning with the staff of the Gallery and Madame Cortese (Julie Lea Goodwin) the formidable Gallery owner. Then comes the first of the artwork soloists breaking out of their packaging sans trousers and dresses. Part of their clothing is in another box which takes a while to find. It doesn’t seem to bother them, only the Countess de Folleville who is a devoted materialist demands everyone at least find her shoes to get started.

There is an amusing intermezzo gallery of artworks where actors arrive in costumes of well known artworks while their matching paintings are paraded behind. Act II features a huge picture frame taking the whole stage height and width where two of the painted characters sing behind two regular humans having a lovers’ squabble in the foreground. The painted characters do their best to encourage them back together. Finally the cleaning staff arrive to reveal the magnificent set of the Coronation painting and Corrinna (Irina Lungu) performs the longest aria ever while the cast drift almost imperceptibly towards their given positions to complete the painting. 

It’s a magnificent, genius way to keep the action moving on the stage with the singers stretched to the extreme in their virtuoso skill. Meanwhile, we get to appreciate the marvels of all that is dear about Rossini and his compositions.

With 14 soloists it’s difficult to single out any one as outstanding above the rest. Barone di Trombonok (Warwick Fyfe) got plenty of laughs with his comedy. The interplay between lovers Marchesa Melibea (Sian Sharp) and Conte di Libenskof (Shanul Sharma) was just lovely and we got to enjoy yet another shirt removal by Teddy Tahu Rhodes who must seriously be wondering if this is a compulsory condition of contract by now. The audience were completely enchanted by ballet dancing from The Three Graces in white marble body paint. Julie Lea Goodwin began her performance as the gallery owner in a very strongly built character which strangely disappeared part way through the story for no obvious reason. This loss of commitment may have been a given direction.

Conductor Daniel Smith had plenty of fans in the audience though I could see a few too many times when singers were needing or choosing to sing slower or faster for which there was no alteration to the conducting. Recitative was accompanied beautifully by Kate Johnson on fortepiano.

All in all, a visually striking production that is well worth the ticket price. It’s very rare to have so many wonderful singers on the stage at once so is quite the treat. No need to watch the surtitles to understand the libretto for it has nothing to do with the action. Just sit back and bathe in the delights of Rossini and all that is visually splendid about Opera Australia.

For season dates and future productions visit the Opera Australia website :  https://opera.org.au

Published by Annabelle Drumm

Annabelle Drumm grew up in a theatre family and has worked out front and behind the scenes in Arts, Media and Entertainment for the majority of her career. She was a professional Performing Artist herself for 9 years, ran a Dance Company for 6 years and founded/managed a Booking Agency over 15 years promoting Performing Artists from Australia and New Zealand to an international audience. She spent 10 years as a Creative Business Coach and was selected as an inaugural member of the Arts and Culture Advisory panel to the Inner West Council. Annabelle served as a Breakfast Radio Host for 2MBS Fine Music 102.5FM for 7 years, was Anchor Host for their "Live from the Joan" simulcast and provided Musicology talks at The Concourse and Sydney Opera House. She is passionate about supporting the Performing Arts in Australia, offering her expertise with the goal of raising standards and growing live audience numbers.