Il turco in Norwegia


“Wow” says Pietro Spagnoli, great Rossinian buffo baritone “we´re talking Rossini to Broadway!”

At Bergen National Opera, everyone is breathless from high kicks, razzle-dazzle, fancy moves and footwork. The dancers are sweating lightly, stretching their lycra-clad legs and fiddling with their feet. The chorus is gasping quietly and practising jerky movements as though searching for a wasp lost in their clothing – dance director Sean Curran´s routines are not, for sure, in their usual repertoire. The soloists are beaming and chattering in Italian by the coffee machine.

Welcome to Il Turco in Italia directed by American opera supremo Mark Lamos – a riotous combination of highly sophisticated ensemble, fabulous arias, touching moments and carefully choreographed mayhem.

Mark, along with designer George Souglides, last illuminated BNO in 2014 with Rimsky-Korsakov´s The Golden Cockerel – a Norwegian premiere which put Russian opera firmly on the Bergen map – and which created pictures never to be erased from memory: a golden cage shimmering above the stage with a jittering boy/bird as the eponymous cockerel; a wicked Eastern queen in a dazzling scarlet feather coat singing seductive lines to bewitch a foolish, doddering Tsar; a blasted landscape under a blood-red moon with ruined trees and a scattered, broken army. Unforgettable.

But Turco! It couldn´t be more different. Now, listen carefully – like most Italian opera, the plot is tortuous. We are at the seaside – maybe even in Pesaro, Rossini´s eccentric, enchanting home town. A poet, Prosdocimo, is looking for a story for his next libretto and in front of him, an interesting tale begins to unfold. Old Geronio (Spagnoli´s role) has a tiresomely flirtatious young wife Fiorilla, a girl troubled by a voracious need for male attention, preferably not from her husband. A Turkish ship sails in captained by the glamorous Selim – do not look to this opera for political correctness – and Fiorilla wastes no time. Meanwhile, Selim´s old girlfriend and a pack of gypsies are in hot pursuit. In the end, after a domestic ruction, a masked ball, a critical letter, it all resolves… How? You will just have to wait and see.

Meanwhile, upstairs on Grieghallen´s third floor, a mix of Hungarian, Norwegian and German costume makers are draping bling onto delighted extra cast members. The clothes are outrageous, all froth, silk turbans, shocking pink trousers and bosomy dresses. There are harlequins in primary colours and pom-poms, crazy hats, and skirts the size of Victorian overmantels.

Along the corridor, Øystein is working with his puppets, little gesturing, weaving miniatures of the principal characters, clad in matching extravagant silks. Little Fiorilla is learning to stretch her wooden hand to slap mini Geronio. He is organising his dangling feet to swerve smartly away.

But right now, we have a half hour break. Spagnoli has taken his dog for a walk – he never travels without her – and our office has adopted her with somewhat soppy adoration. The dancers are outside smoking, and Fiorilla, Spanish soprano Sylvia Schwartz is on the phone to Rome, to her children´s nanny.

Mark is composing an email to the Metropolitan Opera, New York – they´ll revive one of his Verdi productions next year – and we are trying to catch our breath. We´ve just had cake for Mark´s birthday, and the sugar high compounds the atmosphere of overall exhilaration. In ten minutes, Rossini will swirl gloriously back on stage, the music will bewitch us and our toes will start to tap.

Broadway, Pesaro, Italy, Bergen – here we come, with the Norwegian premiere of an opera like no other. Bring your dancing shoes – isn´t that what the aisles are for? – and settle in for a night on the town, at the seaside, in the company of our cast of sparkling stars.

Mary Miller


Tzars don’t change that much – Aftenposten, 24th March 2014


It´s timely that right now in Bergen we are preparing an opera based on a Pushkin poem about Russian imperialist ambitions. Rimsky-Korsakov´s Gullhanen (The Golden Cockerel) – which tells the story of a mythical Tzar who invades a neighboring country, and is pecked to death by a golden bird charged with warning him of danger – was completed in 1907 as a thinly veiled satire on Tzar Nicholas II´s abortive conflict with Japan. Banned by the censors, the composer never heard the work in his lifetime.

Meanwhile, here in Bergen, we have our own international collision: a mainly Russian cast all of whom are distinctly tight-lipped on the subject of their present aspiring Tzar´s activities, and a distinguished American director (who also has an acclaimed Wozzek currently at the Metropolitan Opera, New York) who is fearless in the face of controversy, and from whose lips flip ironic asides which most certainly pay scant attention to political niceties. So, while Rimsky-Korsakov´s gleaming swirling romanticism soars around us, a certain amount of muttering goes on in corners. The price of vodka in Norway perhaps does not encourage bi-lateral conversation to flow.

All this, however, does call to mind a peculiar editorial in a recent edition of the monthly magazine Opera Now,which stated re: composers´ choice of material that “(opera is not).. a suitable vehicle for reductive political messages or social commentary.” How bizarre. One would have thought that Gullhanen´s success at its premiere in 1909 – as for today – is exactly that the opera is sharp and topical, delicately poised on the fragile axis of wit and tragedy. Rimsky-Korsakov manages all this beautifully, sliding savage, terrible comments behind the most jovial musical lines, and providing a postlude where the Astrologer – a major and sinister mischief-maker – tells the audience in silky tones, that actually all they have seen is ‘just a story…’

One wracks one´s brains to think of a successful opera which doesn´t address some kind of social or political issue, from class differences and poverty in La Boheme, sexual politics in Don Giovanni, terrorism in Klinghoffer, to the endless theatres of war in Handel. So perhaps what ON´s editor intends is to criticize regie-led productions, where Madama Butterfly is dressed in vinyl and lives in a waterfront Florida apartment, or Leporello appears as a transvestite. For that, one can hardly blame the composer.

But what is disturbing here in Bergen is the reminder of our privilege. We smirk and think how lucky we are. But as artists and as citizens surely we should be activists for our near-neighbours against the present day Tzars – be they political leaders or cultural bureaucrats – who literally and metaphorically call the tune and the words which it sets. Perhaps in presenting Gullhanen today we should be aware that behind a ‘funny’ opera lurks not satire but a shocking story about leadership and corruption in 2014. The pecking golden cockerel should be a warning to us all.

Published in Aftenposten 24th March 2014