Bel Canto Opera thrills at Hanover.

Byline: Dan Sweeney

COLUMN: MUSIC REVIEW

Having served up two delightful plates of Verismo Opera, Opera Worcester and the National Lyric Opera took a step back in time for a delectable taste of the Bel Canto era, with a presentation of Gioacchino Rossini's "L'Italiana in Algeri," at the Hanover Theatre for the Performing Arts Monday night.

Written under time constraints for the Venice Opera in 1813, Rossini turned out a two-plus-hour score in just 27 days, and it put Rossini on the opera map. In the next 10 years his most memorable scores would follow.

For this production Artistic Director Michael Capasso brought a dynamic cast to Worcester, and all seemed normal until Isabella's entrance in Scene 4, when we realized we were in the late 1950s, as we see her sunning herself, replete with sunglasses and bikini. I suspect Lindoro's tossing a rubber pizza in Scene 3 should have given it away, but it all worked.

Our Lindoro, aptly played by John Bernard, looking like a young Robert De Niro in "The Godfather," successfully portrayed a man captured in slavery, yet pining for his Isabella. His "Languir per una bella" in Act I, once a favorite of tenors in recital, was well-delivered, although he faltered slightly in his Act II "Verro, mia speme."

It is not often a reviewer of "L'Italiana" says much about the role of Taddeo, but Chad Armstrong gave as wonderful and strong a Taddeo as I've seen or heard. His acting and singing were first rate, with a powerful voice that on occasion covered up our Isabella.

Adding to the mayhem were the roles of Haly, Elvira, and Zulma, sung by Brian Ballard, Jennifer Valle, and Lisa Chavez, respectively. Their acting and singing complemented all, especially Ms. Valle's soprano in the septets, but it is the roles of Isabella and Mustafa that drive this opera.

Isabella's role in this opera buffa stands out because she is the serious one who controls all through her quicker wit. Her music is melancholic, and could easily be at home in opera seria, however, the Puerto Rico-born singer Gabriela Garcia chose to play the role as a sultry 1950s "La Dolce Vita." She has a wonderful voice, but her mannerisms and body movements were a joy to watch. Not only did she have The Bay at bay, but I'm sure every male in the audience.

Everything worked in our Todd Robinson's Mustafa. He is at the center of all this comedy, and one has to be careful not to overdo it. His facial expressions and mannerisms were born to play this role, as well as his well-crafted bass baritone singing. The audience was riveted and smiling every time he entered.

Samuel Bill, and the orchestra, gave a clear rendition of the score, especially in the overture, and drove the singers in the delightful and quick tutti scene ending Act I.

The moderate audience at the Hanover smiled, laughed, applauded and left grinning, and that is what this opera has done for 196 years. Not bad for 27 days' work.