The Turk in Italy - Rossini

What are hopes and expectations for the large expense of a night at an Opera? For us -enjoyable vocal music- especially from gifted soloists,
-large scale and lively visual drama,
-eye catching sets.
The plot can be incredible so long as not too conflicted with mix ups between periods.
After our experience with this Opera production (and also last year with Aida at the Bastille) we must add desiderata about the libretto: last year we were put off by insertions of current political clichés;  Turk in Italy was spoilt for us by surtitles and matching choreography emphasising banal and narcissistic sexual behaviour clichés.
 
Photo - ccc-canberracriticscircle.blogspot.com
 A lampoon of a debauched party hosted by Belusconi may not be too far from Italian reality either now, or in the 1950s chosen for this production setting (or even earlier in the 20th century in the literally awful story of the appetites of Gabriele d'Annunzio) but even those living caricatures of warped sexual mores would not have resorted to use of the vulgar spoken terms employed in the surtitles of this Opera- an apology is owed to the original librettist. Enough already!
While not without its moments, especially in the opening tableaux vivants, the style in sum is for us not comedic but repulsive. What a contrast to the memories of sophisticated fun and joy in treatment of quite similar ideas in Die Fledermaus! (Vienna 2012)

The chorus looked uncomfortable in bathing outfits, Emma Matthews and Anna Dowsley both did justice to their song roles, though Emma seemed somewhat jaded. Anna was delightful, almost saving the night.