ENTERTAINMENT

Opera Review: Singers maintain balance in comically twisted ‘Il signor Bruschino’

Gayle Williams, Correspondent
Christopher Bozeka as Florville and Hanna Brammer as Sofia in the Sarasota Opera production of Rossini’s “Il signor Bruschino.”

Gioachino Rossini’s “Il signor Bruschino,” which opens the Sarasota Opera’s spring season, is an energetic farce that kept its balance under unusual circumstances during Friday’s opening performance.

For the first time in 52 years, artistic director and conductor Victor DeRenzi was unable to take the podium. The audience was assured that DeRenzi, who recently marked his 800th performance with the company, will be back to conduct next week. 

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It would be the greatest compliment to DeRenzi to note that the performance continued without a hitch. Under the direction of assistant conductor Geoffrey Loff, making his Sarasota debut this season, the orchestra sounded as polished as usual with notable solos from both English and French horns. 

The singers, most of whom are veterans of Sarasota Opera seasons past, carry out their roles with consummate skill pointing to the fact that the largest share of work for both conductor and stage director is done prior to the first performance.

Stephanie Sundine has always shown great skill directing large farces and plenty of action on stage. The small cast of “Bruschino” has its own challenges twisting and turning around the deception plotted by lovers Florville (Christopher Bozeka) and Sofia (Hanna Brammer).

Both Bozeka and Brammer have voices well suited to the lyric beauty of Rossini’s smooth bel canto style. The two were paired in “L’inganno felice” earlier in the season and sing well together. Their first love duet here was as sentimental as any between an ardent tenor and his sweet soprano maid. What follows, however, is heavy on visual comedy and strong character acting from the rest of the cast.

From left, Hanna Brammer, Christopher Bozeka, Stefano de Peppo, Alexander Boyd and Joshua DeVane in the Sarasota Opera production of “Il signor Bruschino.”

Bass-baritone Stefano de Peppo seems born to comic roles as he is as adept here as he was in “La serva padrona” earlier in the season. His Guadenzio is intent on marrying his charge, Sofia, to the son of Signor Bruschino with whom he spends much of his time verbally wrestling. While de Peppo’s character has his comedic flair, it is a straight role in comparison to Alexander Boyd’s crotchety, complaining and quite direct Bruschino.

It is great fun watching the two musically and comedically duel over the identity of Florville posing as the younger Bruschino. Rossini is testing the two with a tongue-twisting libretto at increasing speeds. This touch appears on several occasions in later ensembles and is a classic Rossini device.

Another comedic pairing is Florville and the innkeeper Filiberto, portrayed with a bowlegged gait by Joshua DeVane. Motivated by money alone, DeVane’s innkeeper unwittingly goes along with the deception only to later unravel it.

The lovely Sofia sings persuasively to the elder Bruschino in a spectacular aria that ranges from sweet pleading to increasing coloratura emphasis. It shows a glimpse of Brammer’s vocal artistry, but our audiences have heard her excel under much greater demands.

Although this little farce is an early work for Rossini, his full ensemble scenes show his quick mastery of the quartets and quintets that would become a mainstay of Romantic era opera. Only here, where multiple moving parts are battling and pulling at each other, we hear hints of instability. While nothing ran off the rails, there was a sense of synchronicity teetering on the edge, which added to the thrill.

The entertaining production proves what a great team DeRenzi has assembled.

‘Il signor Bruschino’

By Gioachino Rossini. Conducted by Geoffrey Loff. Directed by Stephanie Sundine. Reviewed Friday, April 9, Sarasota Opera House, 61 N. Pineapple Ave., Sarasota. Through April 24. Streaming will be available in May. For ticket information: 941-328-1300; sarasotaopera.org

More:Read more classical music reviews and stories by Gayle Williams.