Knoxville Opera’s first mostly local production in many years, a double bill of an adaption of Mozart’s 1786 “The “Impresario”” and a traditional performance of Puccini’s 1918 “Gianni Schicchi,” is being performed at the Tennessee Theatre this weekend.
The opening performance Friday night was mostly terrific.
Mozart loved a good laugh, especially at someone else’s expense. His “Impresario” was written to make fun of opera producers. In a timeframe compression, KO music director and conductor Brian Salesky wrote his own libretto for “The Impresario” as a version of Knoxville Opera putting on a show of Puccini’s “Gianni Schicchi.”
It worked, thanks to both Salesky’s vision of the show and stage director Brian Deedrick’s considerable staging skills, which included persuading the Tennessee Theatre’s real stage crew to be part of the show.
During the opening scene of “Impresario,” the stage crew moved props around, raised and lowering screens and rigging and swept the floor.
Sean Anderson, as general director of Knoxville Opera (the “Impresario”), and Kirk Dougherty as KO’s artistic director (the character of Cristoforo Cannelloni in Mozart’s original piece) talked about the mechanics of their production and auditioned two singers, UT opera students Brittany Robinson and Brandie Sutton, for roles in their production of “Schicchi.”
Cast members of “The “Impresario”” are Brittany Robinson, as herself auditioning for a role in “Gianni Schicchi,” Kirk Dougherty as Cristoforo Cannelloni, Brandie Sutton, as herself also auditioning for a role in “Schicchi,” and Sean Anderson as the “Impresario.”
The “mostly” part of the success of this first half of the double bill was due to a little too much talking and much too little singing.
Robinson and Sutton effectively sparred about who would be chosen and their singing auditions were more than delightful.
But it was a trio of Robinson, Sutton and Anderson singing che il vento sia gentile (may the wind be gentle) from Mozart’s opera “Cosi Fan Tutti” that made this production of “Impresario” a success.
After intermission, it was down to the more serious business of comedy with Giacomo Puccini’s “Gianni Schicchi,” about a con artist taking advantage of a wealthy and greedy (Is that redundant?) family moaning (about the loss of riches) and mourning the death of their patriarch, the wealthy and very dead Buoso Donati, in a stiff performance by Gregory Bonneville.
At least 10 of the 15 roles in “Schicchi” were performed by Knoxville singers.
When the family reads Donati’s will, much to their chagrin they discover that his estate has been left to the monks of the local monastery.
Rinuccio, well sung by Kirk Dougherty, who is in love with Gianni Schicchi’s daughter, suggests the local peasant might be clever enough to find a way for the family to snatch the fortune for themselves. The family initially resists. After all, why would an aristocratic family need the help of a peasant. But they reluctantly agree.
In Scott Bearden’s show-stealing performance of Schicchi, he convinces the family that he can pretend to be a not-yet-dead Donati. A notary, Amantio di Nicolao, nicely sung by Sean Anderson, is invited in to hear the old man’s last request.
But Schicchi turns out to be more astute than the family expected.
His fake Donati dictates something to everyone in the family. But he leaves the bulk of the fortune to himself.
The “Impresario” and Gianni Schicchi will be performed again Sunday afternoon at 2:30. Tickets may be purchased at Knoxville Opera box office at 865-524-0795 and at the door.
Allow plenty of time for parking and going through the security screening process.