Le convenienze ed inconvenienze teatrali
A regional (and mediocre) operatic troupe is rehearsing a new work and faces a pile of obstacles. The prima donna acts every bit the part, refusing to rehearse. The Tenor finds himself in the wrong production and quite out of his depth. The seconda donna’s mother (played by a baritone) demands that her daughter be given a more prominent role, before deciding to take on several roles herself. Not to be outshone, the prima donna’s husband takes to the stage too.
Le convenienze ed inconvenienze teatrali (Conventions and Inconveniences of the Stage) is a two-act opera that shines an exaggerated spotlight on the behind-the-scenes working of a theatre and the rehearsal process, showing what can go wrong when the egos of the performers get in the way of putting on a good show. The title refers to the ‘convenienze’, which were the rules relating to the ranking of singers (primo, secondo, comprimario) in the 19th-century Italian opera and the number of scenes, arias etc., that they were entitled to expect. The opera was originally a one-act farsa which premiered at the Teatro Nuovo in Naples in 1827, before Donizetti revised it as a two-act work with added recitatives and other material. Inspired by two comedies written by Antonio Simone Sografi between 1794 and 1816 it follows the theatrical traditions of Goldoni, Gozzi and Metastasio, subjecting the bad habits of the operatic world to biting criticism. With an international reputation for shining a spotlight on forgotten corners of the repertoire, Wexford Festival Opera stream its 2024 production. Director Orpha Phelan and conductor Danila Grassi take firm hand on the stage antics which sees the company attempting flight under cover of night to avoid paying back their investors, whose money has, of course, already been spent!
CAST
Daria Garbinati | Sharleen Joynt |
---|---|
Procolo | Giuseppe Toia |
Biscroma Strappaviscere | Matteo Loi |
Donna Agata Scannagalli | Paolo Bordogna |
Luigia Castragatti | Paola Leoci |
Guglielmo Antolstoinoff | Alberto Robert |
Pippetto | Hannah Bennett |
Cesare Salzapariglia | William Kyle |
Impresario | Philip Kalmanovitch |
Director of the Theatre | Henry Grant Kerswell |
Orchestra | Wexford Festival Opera Orchestra |
Chorus | Wexford Festival Opera Chorus |
... |
Music | Gaetano Donizetti |
---|---|
Text | Domenico Gilardoni |
Conductor | Danila Grassi |
Director | Orpha Phelan |
Sets & Costumes | Madeleine Boyd |
Lights | Daniele Naldi |
Choreography & assistant director | Amy Share Kissiov |
Assistant lighting designer | Paolo Bonapace |
... |
Video
STORY
Act I
Welcome to the first day of rehearsals for a new opera, called Romolo ed Ersilia!
Oh dear, it looks like the Impresario is already under a lot of pressure; with bankruptcy around the corner, he desperately needs this show to be a success.
As the singers gather, the shenanigans commence. The Prima Donna, Daria, encouraged by her husband, Procolo, sings through the opening number. It is clear even now that other members of the cast, Luigia and Pippetto, are unhappy with their minor roles, while the Tenor just seems to be in the wrong production. But the Librettist, Composer and Impresario are rather taken with the Prima Donna and momentarily the Creative Team celebrates, in anticipation of a successful show.
It's hard to please everyone, especially when no one seems prepared to compromise. Just as well that Luigia’s mother arrives, ready to fight her daughter’s corner for her. Mamma Agata is a force to be reckoned with and will stop at nothing to make sure that her daughter is given the prominence that she deserves. Agata starts by giving very specific instructions to the rather nonplussed composer with regard to an aria that he should write for Luigia for the forthcoming production.
Procolo is keen to ensure that the team knows just how important his wife is, and regales them with stories of Daria’s successes. Agata takes offence when she hears that the Prima Donna doesn’t sing with “inferiors”, and insists upon a duet between Daria and Luigia. The Prima Donna, however, is not open to persuasion.
With chaos abounding, Pippetto has already stormed off. One down, how many to go? The Creative Team meets to find a solution. But not to worry – Agata offers to take on Pippetto’s role. Beggars can’t be choosers and the production seems to be back on track. There’s just one snag – Agata can’t read music. Soon she comes to blows with the Tenor who bids us “so long and farewell” … he’s off to find a proper show.
With no tenor, the future of the production is again in the balance. So Procolo kindly offers to take on this role himself. What could possibly go wrong? Well, when the Director asks everyone to move to rehearse on the Main Stage, the cast, in the middle of yet another argument, flatly refuses. The mutiny is quelled with the help of some rather heavy-handed Stage Management.
Act II
Disenchanted, the tenor decides to go far away in search of his dream production. Meantime, things have gone from bad to worse on the Main Stage. The set is falling apart and Agata seems to be taking charge of almost everything. Unfortunately her singing has, if anything, disimproved, but at least the Prima Donna has brought her own surefire winning number with her. As Daria glitters, Agata’s jealousy intensifies. The unscrupulous mother grooms her daughter in a last attempt to secure a leading role for Luigia.
Just as stage rehearsals with the Chorus commence, the Impresario brings the terrible news that, due to losing Pippetto and the Tenor, the Director has cancelled the production. Rather than face the music (!) and their mounting debts, everyone tries to scarper. But the Impresario has other ideas…
© Orpha Phelan