The Bizarre Misunderstanding (L’equivoco Stravagante)

After three performances, police banned this opera in Italy for its obscenities, double-entendres, mockery of the nouveau-riche, and satire of castrati singers. Rossini, notorious for reusing his own music, borrowed from this opera for other works like Cambiale di Matrimonio and Adelaida di Borgogna.

The story is delightfully absurd: Ermanno, poor but in love with Ernestina (daughter of wealthy farmer Gamberotto), competes with the rich Buralicchio for her hand. With help from the servants, Ermanno becomes Ernestina’s tutor but is dismissed due to Buralicchio’s jealousy. A plot involving a fake letter leads Buralicchio to believe Ernestina is actually Gamberotto’s castrated son, Ernesto. The misunderstanding results in Ernestina’s arrest, but Ermanno rescues her, and love prevails.

Critics once asked how Rossini could pair such enchanting music with “immoral” ideas, but those themes—fake news, gender confusion—are as relevant today as they were then. The double-entendres are funny, and the so-called obscenities feel tame by modern standards. The role of Ernestina, written for a deep contralto voice, adds credibility to the idea that she could be mistaken for a eunuch, a theme reflected in Rossini’s use of masculine vocal tones.

Directors Moshe Leiser and Patrice Caurier have brilliantly turned this once unremarkable libretto into an essential new Rossini production. Some vulgarities could be cut, but they enhance the original satire. The cast delivers the comedy with flair, donning long fake noses reminiscent of commedia dell’arte characters. Ernestina and Gamberotto speak in a comically ‘cultivated’ language—like saying “the bodily machines in curved line adapt to two comforts” instead of “please sit.” The set, dominated by a painting of cows, adds to the humour.

Baritone Nicolo Alaimo shines as Gamberotto, his big voice and comedic timing stealing the show. His performance in the patter duet with Buralicchio is breathtakingly brilliant. Russian mezzo Maria Barakova, an alumna of the Accademia Rossini, impresses as Ernestina with her impeccable Italian, warm voice, and comic timing. Tenor Pietro Adaíni as Ermanno delivers a moving love aria, while Spanish baritone Carles Pachón stands out as the hilarious Buralicchio, despite having no arias. His duet with Alaimo is a highlight. Patricia Calvache as Rosalia and Matteo Macchioni as Frontino are equally brilliant in their roles.

The production received tumultuous applause, especially for Pesaro favourite, Alaimo. This opera deserves to travel—it’s a wonderful addition to the Rossini repertoire and foreshadows Barber. The 2019 version, available on YouTube, is highly recommended for its sheer fun.