The year 1813 proved a productive one for Rossini, with several important works: “Il signor “, “Tancredi”, “Aureliano in Palmira”… In between came an opera that nearly didn’t happen. Carlo Coccia, who had accepted a commission to compose an opera for the Teatro San Benedetto in Venice, apparently ran into difficulty in completing his assignment. Rossini accepted the offer from the theater’s impresario and wrote “L’italiana in Algeri” in less than a month. Given the tight schedule, the composer turned to a libretto already in existence, one by Angelo Anelli, already set by Luigi Mosca (Meyerbeer1’s channel includes a version of the duet between Isabella and Taddeo by Mosca, do check it out).
Although Rossini was likely familiar with Mosca’s opera, significant additions and changes were made to the libretto. The 21-year-old composer elected to go for broke with the effects of his ensemble writing. The opera was premiered on May 22, 1813, to applause that, according to one critic, “thundered without pause”.
“L’italiana” was the first of several important Rossini comic operas to hold prominent roles for lower female voices, the third, to be precise.
The protagonist is a determined Italian lady, sung by contralto, who travels to Algiers to search for her lover, Lindoro, kidnapped and held as a slave by Mustafa, the Bey of Algiers. Isabella’s wit and charm prove too much for Mustafa and his retinue, and she is able to escape with Lindoro at the end, leaving the Bey fuming until he realizes there is nothing to be done. In essence, the opera is a parody of rescue operas, for example, Mozart’s “Escape from the Seraglio”, with a comic exchange of roles between the lady and her lover. The work is an especially wonderful gift for the primo bass and the contralto who both get a superb amount of inspired music to sing. But like in the best music, all singers are given an array of opportunities, even the comprimario role of the Bey’s poor wife, Elvira. But let us give the music itself an opportunity to speak for itself.
A great part of the everlasting success the work maintained for two centuries straight can be attributed to the overture. It starts with a theatrically heavy slow introduction leading into an exciting allegro with elements of sonata form. Exceptionally, the overture is thematically linked with the opera itself, which is unusual for Rossini’s overtures, rarely written with a specific origin in mind: the first theme is perfect in establishing much of the confusion that Mustafa’s foolishness causes; while the more gentle second theme could be considered to symbolize the lovesick Lindoro, the put-upon wife of the Bey and love, in general. A musical link occurs in the crescendos that feature a rising theme which will appear later in Taddeo’s big aria. All in all, a most inspiring opening. Neville Marriner’s version remains my favorite. Enjoy :)!