PREVIEW
The Misadventures of Count Ory
Edmonton Opera
April 6, 9 and 12
Northern Alberta Jubilee Auditorium
11455 – 87 Ave.
Tickets: Visit www.edmontonopera.com
Did you know Italian composer Gioachino Rossini wrote 13 operas? Most us have heard the sparkling overtures from The Barber of Seville, William Tell, Otello and La Cenerentola (Cinderella). Where are the others?
This season Edmonton Opera has taken the bold step of introducing the western Canadian premiere of The Misadventures of Count Ory. It is an obscure work rarely performed even though it contains some of Rossini’s most colourful orchestral writing.
Part of the reason it has sat on dusty shelves is that Rossini appropriated large parts of the music from an earlier opera he’d composed, Il viaggio a Reims. Eugène Scribe was tapped to write the libretto and he chose to adapt a comedy he’d written almost 10 years earlier.
“Rossini was famously lazy. He could churn out music in a heartbeat. He is best known for his comedy although he wrote some serious works,” said director Brian Deedrick.
He first saw the opera 25 years ago in Toronto. The young director loved the music, but hated the production staged in dull browns. Deedrick tacked it onto his bucket list and is using this opportunity to set it in bright, cartoon-like colours.
“There’s something about it – frothy and light like a meringue. It’s a confection. It’s farcical and the joyousness and lightness is a real treat. It’s an escape. There’s something about Rossini that makes the heart beat a little faster.”
The plot revolves around the randy Count Ory resolved to seduce Countess Adele, a young widow. It is the 13th century and most of the men are soldiering on a crusade.
He disguises himself as a hermit and dispenses advice to lovelorn women. But Countess Adele falls in love with the count’s page, Isolier. Undeterred, County Ory dons a nun’s habit to gain entry into the countess’ personal chambers.
St. Albert soprano Caitlin Wood tackles the role of Countess Adele. Wood last performed with Edmonton Opera in 2017 as Clorinda, one of the wicked stepsisters in La Cenerentola.
“Countess Adele is very stately and proper. But when she finds out Count Ory is trying to pull the wool over her eyes, she can be quite feisty,” laughs Wood.
Edmonton tenor John Tessier was cast to stickhandle the role of Count Ory.
“You need a very specific voice to sing Count Ory. He must move his voice quickly and he needs to hit some high notes. John can hit high Cs and it’s not easy. His voice is very flexible, very limber.”
The third big role in the production is that of Isolier, a “pants role” sung by American mezzo-soprano Sarah Mesko. Originally from Hot Springs, Ark., she debuted at New York’s Metropolitan Opera in the 2016-17 season and appears there regularly.
Wood sums up the opera saying, “This is a fantastic cast. The music will draw you in. The singers’ voices sparkle and Edmonton Opera has one of the best costume departments I’ve seen. Come and have a laugh.”
