Winter 2005

L'occasione fa il ladro (Love's Luggage Lost)

English translation by Amanda Holden, adapted to include other Rossini songs of the same period



L'occasione is one of the few examples of an opera that deals exclusively with a continuing problem: lost luggage! The entire plot hinges on the mixing up of two identical pieces of luggage, compounded by an ensuing four-way switch of identities.

Surprised by a storm, two travelers take refuge at a country inn: Count Alberto is on his way to meet his bride-to-be (Berenice) and Don Parmenione is on his way to find a runaway girl (Ernestina). Alberto has never met his intended, and Parmenione does not know what Ernestina looks like. Neither of the women knows what the men look like.

As the travelers prepare to leave the inn, Parmenione's valet, Martin, mixes up the identical luggage. Alberto ends up with Parmenione's luggage full of dirty laundry, and Parmenione ends up with Alberto's luggage, which includes money, a nice suit, and a passport. Parmenione immediately assumes the identity of Alberto and goes off to woo Berenice, who is posing as Ernestina, her maid, so you can observe her prospective bridegroom. Then the real Alberto arrives and begins to woo Ernestina, the real Berenice. Confusion and intrigue reign until everyone's real identity is sorted out.

     

Rossini differentiates the two pairs of lovers with very subtle musical devices. For Alberto and Berenice, he writes in a very simple, sentimental melodic style; while with Don Parmenione and Ernestina he writes in a very energetic, opera buffo style. The opera is structurally organized around three elements: The opening storm music--which will reappear in the Barber of Seville--the ensemble at the end of Act I, and the Finale. The arias and duets form dramatic and musical units around these three elements. One interesting selection is the valet Martin's Leporello-like assessment of his master in his Act II aria, "My master is a man."

This production of Love's Luggage Lost is a continuation of OTNV's ongoing project of presenting early and unfamiliar music by well-known operatic composers. Recent revivals of the work reveal the opera's superb construction, lyrical language, and careful differentiation of characters. - John Edward Niles



Cast:
Amanda Gosier, Berenice
Ole Hass, Don Eusebio
Keith Hudspeth, Count Alberto
Jason Kaminski, Martino
Bobb Robinson, Don Parmenione
Kelly Smith, Ernestina

Gene Galvin, Stage Director



Washington Post Review, February 27, 2005

Known for churning out operas in a matter of days, Gioacchino Rossini had written all 39 of his operas by the time he was 37. The Opera Theatre of Northern Virginia gave one of his earliest operas, "L'Occasione fa il Ladro" ("Opportunity Makes the Thief"), an endearing performance on Saturday at Arlington's Gunston Arts Center.

With simple sets depicting a tavern and an estate garden, the production, sung in English translation by Amanda Holden, transported Rossini's 1812 opera about switched luggage, stolen and swapped identities and love to Alexandria and Arlington circa 1915.

Amanda Gosier, the cast's powerhouse voice, portrayed the coveted Berenice with emotional conviction. She sculpted long, fluid phrases with her acrobatic soprano. Her golden high notes peaked immediately and effortlessly at any dynamic level.

With his rich, flowing baritone, Bobb Robinson (Parmenione) had a charismatic stage presence. He interacted with fellow cast members so earnestly that his Parmenione, masquerading as Berenice's fiance, Alberto, was lovable and easily forgiven for identity theft. His confrontation with the suspicious bride-to-be ranked as the evening's best performance.

As Alberto, tenor Keith Hudspeth often sounded tentative, his tempos dragging, his upper register emerging with an edgy tone. He courted Berenice with tepid passion, resulting in unconvincing declarations of love at the end.

Baritone Jason Kaminski sang confidently as Parmenione's humorous valet Martino. Kelly Smith (Ernestina) sang with youthful vibrancy while tenor Ole Hass gave a bashful performance as Berenice's uncle, Eusebio.

Artistic Director John Edward Niles kept the eight-person orchestra -- and the opera -- zipping along.

-- Grace Jean