Rossini was just 18 when Venice commissioned his first opera, the one-act comedy La Cambiale di Matrimonio (“The Marriage Contract”). He composed the overture while still a student, and it was an instant hit. Some of the music may sound familiar to opera lovers, as Rossini cleverly reused melodies in later works, including the famous Il barbiere di Siviglia (“The Barber of Seville”). This early comic opera offers a delightful glimpse of the wit, melody, and vocal fireworks that would define his career.
This revival is Laurence Dale’s 2020 production, brilliantly staged with vivid sets and costumes. The set opens like a dollhouse inside a structure reminiscent of 10 Downing Street, revealing two floors with multiple rooms—a playful visual that matches the opera’s comic spirit.
The plot is simple and hilarious. Tobias Mill, an English merchant, receives a marriage contract from his Canadian business partner, Slook—the first operatic reference to Canada! The contract is to wed Mill’s daughter, Fanny, but she is secretly engaged to Eduardo. Fanny’s repeated “ma” (“but”) as she rejects the proposal drives Slook to confusion. Threats, misunderstandings, and the looming duel escalate the chaos, until Slook discovers the lovers’ true intentions, makes Eduardo his heir, and the opera ends happily for everyone.
Two performers dominate the evening. Italian bass-baritone Pietro Spagnoli, in his 13th appearance at ROF, is a master of buffo comedy as Tobias Mill. His patter song is a highlight, with every word clear and every gesture perfectly judged. Mattia Olivieri, dressed as a Canadian coureur des bois, makes Slook a charming, charismatic figure. His velvety baritone is rich in tone, flexible, and full of subtle expression. Their duet “Ippotecato!” (“Mortgaged!”) is a showstopper.
Dale adds a fantastical touch: Slook’s companions—a Native American and a huge black bear—terrify the household and, in a brilliant comic flourish, bake an enormous wedding cake. The audience responded with delighted laughter.
American tenor Jack Swanson shines in the small role of Eduardo, though underused compared to his previous performances. Italian soprano Paola Leoci brings light, sparkling coloratura to Fanny, capturing her youthful energy. Ramiro Maturana (Norton) and Inés Lorans (Clarina) are excellent in their smaller roles.
La Cambiale di Matrimonio runs about 90 minutes and is pure fun. The 2020 performance remains available on YouTube and is highly recommended for anyone curious about Rossini’s early comic genius.
Because the opera is short, it is paired with Soirées Musicales (“Musical Evenings”), a collection of eight songs and duets Rossini composed in 1835 after a six-year hiatus following William Tell. Most are performed by Italian soprano Vittoriana de Amicis and tenor Paolo Nevi. Their voices struggle under the weight of so many numbers: de Amicis has a small voice, lacking depth and richness, while Nevi often sings flat. By contrast, Colombian mezzo Andrea Niño and Armenian baritone Gurgen Bayavan, who join for select duets, offer warmth, richness, and superior vocal development, highlighting how unevenly the songs were distributed.
While these rarities are charming, they might work better as a separate recital. As a companion to Cambiale, a second comic one-act like the 2021 Il Signor Bruschino would make a more satisfying double bill, showcasing two lesser-heard Rossini works.
Verdict: Short, witty, and vocally thrilling, La Cambiale di Matrimonio is a delight. Even if you’ve never heard Rossini before, this production offers laughter, musical brilliance, and a glimpse of the young composer’s genius, though the Soirées Musicales segment could be more evenly cast.
SOIRÉES MUSICALES
Version for voices and chamber orchestra
Music: Gioachino Rossini (1792–1868)
Performers: Vittoriana de Amicis, Andrea Niño, Paolo Nevi, Gurgen Bayavan
Running time: 1 hour
LA CAMBIALE DI MATRIMONIO
Comic farce in one act
2020 Production
Music: Gioachino Rossini (1792–1868)
Libretto: Gaetano Rossi
Conductor: Christopher Franklin
Director: Laurence Dale
First performance: Teatro San Moisé, Venice – 3 November 1810
Photo credit: Amati Bacciardi
Cast: Pietro Spagnoli, Paola Leoci, Jack Swanson, Mattia Olivieri, Ramiro Maturana, Inés Lorans
Running time: 1 hour 30 minutes