There was already a buzz outside the Teatro Rossini before curtain-up. Fifteen minutes before the performance, an old smoking VW van ground to a halt and a group of drag queens — dazzling in full Kinky Boots regalia — tumbled out. Spotted by the police, they mingled with the audience entering the theatre. During the overture, they dashed across the stage, only to be “arrested” and photographed, while Elvira, Mustafà’s wife, desperately tried and failed to seduce him. This hilarious opening set the tone for Rosetta Cucchi’s bold, technicolour production — an Italiana in drag. At the conclusion, all the slaves escaped in that same van.
Rossini was just 21 when he composed his 11th opera, L’Italiana in Algeri (The Italian Girl in Algiers), in a mere 18 days. Between 1810 and 1830, Rossini’s works were the most frequently performed operas in Europe. Revivals across Italy and abroad helped establish the very concept of a modern operatic repertoire, allowing audiences to experience productions already staged elsewhere. His spectacular success even earned him exemption from military service.
The libretto draws on a popular theme of the time: the Ottoman Empire as a looming threat to Christian Europe. Mustafà, the Bey of Algiers, bored with his attentive wife Elvira, orders his Italian slave Lindoro to marry her so he can seek a new Italian bride. Lindoro, however, loves Isabella, a recent shipwreck survivor who has arrived with her admirer Taddeo. Isabella, resourceful and commanding, quickly takes control. Mustafà becomes infatuated, but she tricks him into the farcical Pappataci (Eat-and-See-Nothing) ceremony, in which he vows to eat and see nothing, giving the Italians the chance to escape. Mustafà, duly chastened, returns to Elvira.
Cucchi’s staging is a feast for the eyes: the stage split across two levels, constantly bustling with action. Isabella’s ship sinks in the backdrop, while other ships sail past, and Act 2 opens with a full fitness routine led by Isabella herself. Comedy and spectacle abound, yet the pacing never falters.
The cast was exceptional. Superstar mezzo Daniela Barcellona gave a tour de force as Isabella. Known for travesti (cross-dressing) roles, she was utterly convincing as a woman playing a man playing a woman — her layered performance overwhelming Mustafà and reducing him to a monosyllabic fool. From her dazzling entrance aria Cruda sorte! (Cruel Fate!) to her barnstorming Pensa alla Patria (Think of Your Country), she combined breathtaking agility, glowing legato, and a rich palette of colours. Her rendition of Per lui che adoro (For Him Whom I Adore) — sung in the bath while shaving — was both hilarious and brilliant.
At 26, Georgian bass Giorgi Manoshvili (Mustafà) impressed with his warm, powerful voice, equally at home in comedy and more serious repertoire. His Act 1 aria Già d’insolito ardore (Already of Unusual Ardour) showcased nimble coloratura, ringing top notes, and strong stage presence. He embraced the absurdities of the Pappataci scene — red high-heeled boots and all — with gusto.
Canadian tenor Josh Lovell (Lindoro) gave a spirited performance, though the punishing tessitura and florid writing sometimes stretched him. Georgian baritone Misha Kiria (Taddeo) displayed sharp comic timing, despite some intonation issues.
Italian soprano Vittoriana De Amicis (Elvira) has a small, light voice that lacked penetration in ensembles, but her transformation from needy wife to seductive dominatrix — under Isabella’s tutelage — was delightful. Colombian mezzo Andrea Niño (Zulma) contributed a creamy, burnished tone, while Armenian baritone Gurgen Baveyan (Haly) offered warmth and comic flair.
The four drag queens, omnipresent and cleverly woven into musical numbers, added enormously to the comedy.
On the podium, Dmitry Korchak, better known to Pesaro audiences as a tenor, conducted with style and expertise, keeping the pace lively while allowing the singers room to shine.
Performances were sold out, and it’s easy to see why. Cucchi’s production brims with energy, invention, and joy. Everyone left smiling — a true testament to the enduring sparkle of Rossini’s genius.
Opera Buffa in Two Acts — New Production
Music by Gioachino Rossini (1792–1868)
Libretto: Angelo Anelli (1761 to 1820)
Conducted by Dmitry Korchak
Directed by Rosetta Cucchi
First performance: Teatro San Benedetto, Venice, 22 May 1813
Photo credit: Amati Bacciardi
Cast: Giorgi Manoshvili, Daniela Barcellona, Vittoriana De Amicis, Andrea Niño, Gurgen Baveyan, Josh Lovell, Misha Kiria
Running time: 2 hrs 50 mins (with interval)
Performances: 12, 14, 18, 21 August 2025