Review: IL TURCO IN ITALIA, Glyndebourne

Il Turco In Italia may not be Rossini's most famous work, but if there is any justice, this wonderful revival of Mariame Clément's 2021 Festival production will bring this opera to much wider attention. An uproarious comedy accompanied by a rousingly galloping score and gorgeous vocals; it is the escapism and pure fun we all need right now.

Rossini composed the opera when he was just 22 based on the story of Selim, a Turk who visits Italy to find pretty women. He finds the very willing Florilla, who also happens to be married to Geronio and also has a lover, Narciso, already. While there, Selim also discovers his previous girlfriend Zaida, now living with gypsies. On the surface, it is full of problematic stereotypes. Women cannot be trusted, nor can gypsies. Older husbands are gullible and Turks are oversexed. However, Clément flips these aspects on their heads with a knowing and incredibly funny production.

Clément takes the character of Prosdocimo, a blocked writer testing out new ideas, and makes him the pseudo director of the show. The overture acts as a bustling book signing for him, Act I places his chaotic living room and messy writing desk in the centre of the stage as the action unfolds around him. When he decides to move his book's setting from the 19th century to the neorealist 1950s, Fiorilla and Geronio are forced to change clothes mid-scene, with Selim swapping a traditional Ottoman outfit for a leather jacket and jeans. Act II moves to a delicatessen (incredibly detailed design from Julia Hansen) run by Geronio with Narciso as his assistant, where later Fiorilla throws the fancy-dress party.

After directing a new production of Le nozze di Figaro for the 2025 Festival, it is clear that Clément understands how to use the intrinsic comedy within the story and enhance it for a modern audience. Revival director Ian Rutherford, who has been connected to the production from the start, carries on that ethos in spades. David Fricker's video design sees all Prosdocimo's corrections, thoughts and changes comes to life on an enormous paper-shaped screen at the back. This is often thoughtful and funny, but occasionally  has so much information on it that it becomes a distraction. Act II is the strongest section, with the pace and the comedy amped up. A fight scene between Selim and Geronio using various deli items could look forced, but is a particular comedic delight. Who would have thought you could use a string of sausages in place of nunchucks to such effect?

The cast shows both strong acting flair and singing ability, working together to create the chaos and fun of the production. Matteo Mancini is in strong voice as Prosdocimo. Rodion Pogossov returns from the 2021 production as Geronio, handling the rapid-fire vocals with aplomb. Peter Kálmán is full of bluster and bravado as Selim, continuously smoothing down the sides of his quiffed hair and popping his collar confidently like The Fonz. 

As Fiorilla ,Elena Villalón makes a spectacular Glyndebourne debut. She shows remarkable clarity and definition, particularly in some sparkling top notes. Aytaj Shikhalizada's Zaida has strong stage presence and a sonorous tone. Minghao Liu's Narciso took a little while to warm up, but attacked his Act II solo with control and delicacy while strumming a Parma ham. 

In a change to the original listing, Bertie Baigent conducts the London Philharmonic Orchestra, teasing out all the inherent comedy in Rossini's score. Baigent has a light touch, which is perfect for this production. Pacing ramps up hugely as the show goes on, making for a madcap and wonderfully chaotic finale. 

Fabulous, frivolous fun.

Il Turco In Italia runs at Glyndebourne until 9 July

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