Le Comte Ory: Orchestra La Scintilla (Tang) [DVD] [2014]

Chiefly due to brilliant orchestration, imaginative staging and bravura singing performances by Javier Camarena in the role of the Comte Ory and Cecelia Bartoli as La Comtesse Adele, this is an all time great performance of Rossini's Le Comte Ory. However, it is not without its weaknesses and not as good, in some respects, as the 1997 recording of the Glyndebourne performance of this work, which I also find brings out the humour the better of the two, although both of them bring it out far better than the recording of the Met production.Now, the action of this work is supposed to take place during the time of the Crusades circa twelfth-thirteenth centuries, which means that to portray the trouser role character of the page Isolier as a cigarette smoker is a serious anachronism. Since in 'In 1492 Columbus sailed the ocean blue' and discovered the New World, it means that tobacco smoking could not have reached Europe much before 1500, which is something like 300 years after the events portrayed in this work. This means that to portray the page Isolier as a smoker is nothing short of an anachronistic spoiler of the worst kind deserving the deduction of one star. How could the Comtesse Adele possibly prefer this disreputable little smoke puffer to the dashing Comte Ory? In the Glyndebourne production Diane Montague convincingly looks, acts and sings like a young man likely to prove attractive to the lonely Comtesse, whose husband has long been away fighting in the Crusades. In this production Rebecca Olvera is unconvincing in this role. Whilst in the Glyndebourne production it's easy to see why the Comtesse would prefer the page to the Comte, quite the opposite is implied in this production. Whilst, in the Glyndebourne production it's hard to imagine how the Comtesse could possibly prefer the Comte to the handsome, dashing young page, in this production one is left wondering how she could possibly prefer such an insignificant little smoke puffer to the handsome, brilliantly tenor-voiced Comte.The three in a bed scene is also not well done in this production. The 1997 Glyndebourne production stages it far more realistically and also makes a better job of both the 'nuns' drinking orgy and the return of the crusaders even managing to have their leader riding a 'horse'. Here, instead of this grand finale we have something resembling a fizzle out. Fortunately, the weak points in this production are cancelled out by its overall brilliance and most opera fans will love it as I do; but as much as I enjoy watching it, I still prefer the 1997 Glyndebourne production in which Marc Laro acts the role of the Comte so convincingly. 'Listen to me; I've got a great voice' isn't quite what opera is all about. Glyndebourne knows this, which is one important reason why they stage so many brilliant productions. The lesson here is: costuming aside, if you're going to retain returning from the Crusades as apart of the plot you cannot also include tobacco smoking of any kind in the production.

This updated version in 1960s modern dress, if my ladies fasion sense is any good, gains nothing from the change of era, but does not lose anything either.Javier Camarena plays a good part and has a nice clear tenor voice which I find quite enjoyable. In act one he is operating from a caravan in front of the village.His page Isolier sung by Rebecca Olvera, is I think meant to be a french soldier, whilst also being page to Le Comte Ory. She does a good job in this trouser role.Ugo Guagliardo a base baritone is the governor to the Comte, he has a reasonable voice , but a bit lacking in depth, his character portrayal is fine.Cecilia Bartoli is as ever vocally excellent, and is the reason that I bought this version. She initially is looking like a prim and proper secretary, and the scene within the caravan is very well presented, She has a good sense of comedy which she displays as the Comte brings her out of her shell.Act two is in the castle, the drawing room is equipped with comfortable chairs and settees. The ladies are relaxing in negligees and dressing gowns, curlers in their hair and hairnets are De Rigeur.I just realised that I have not mentioned Liliana Nikiteanu, who as Ragonde, Bartolis companion has a pleasant mezzo, and a sense of fun.The ladies chorus also has a pleasing sound, and following on the gentlemen Nuns chorus is something of a minor highlight.A small word of warning. if you are susceptible to strobe lighting there is a short sequence at the end of the thunderstorm, only a minute or two.In this last act Camarena has plenty of opportunity to display his light clear tenor, and enhance his performance with a good range of facial expressions.To put this in perspective, The singers are very much on a par with the Glyndebourne with Marc Laho and Annick Massis, but for inventive staging and comedy the Glyndebourne is half a star ahead. The Metropolitan Opera with Florez is a non starter in the race, Florez looks uncomfortable and the Director has not realised it is opera buffa.