Author: Philip Gardner

Above: Angky Budiardjono (center) and his cast-mates in Salieri’s LA CIFRA, presented by dell’Arte Opera Ensemble at La MaMa. Photo by Brian Long.

~ Author: Oberon

~ Photos: Brian Long

Sunday August 26th matinee – Following last season’s excellent production of Cavalli’s LA CALISTO by dell’Arte Opera Ensemble, I was happy to re-connect with this enterprising Company at La MaMa today for their American premiere production of Antonio Salieri’s LA CIFRA (“The Code“).

As with the Cavalli last Summer, director Brittany Goodwin worked wonders, her cast bringing wit and occasional wistfulness to both their singing and the staging. Giving things a commedia dell’arte slant, Ms. Goodwin put her singers thru their acting paces; they responded with a fine mixture of gusto and charm.

In brief, the plot revolves around the Scottish noble Milord Fideling’s quest to find Olympia, a count’s daughter betrothed to him in childhood. Milord’s search has brought him to this town where he believes one of the Mayor Rusticore’s daughters is actually Olympia, now a young maiden. The key to the mystery is in a locked chest that Rusticore has hidden away. At the opera’s end the code to the chest’s secret is broken, and Rusticore’s daughter Eurilla is revealed to be the long-lost Olympia. Eurilla and Milord Fideling have already formed an attachment, so the revelation pleases them to no end. Rusticore’s other daughter, Lisotta, who had longed to become Milady, settles instead for her long-suffering suitor Sandrino, and all’s well as ends better. 

The only problem with LA CIFRA is that the music’s by Salieri rather than Mozart. CIFRA is long for a comic opera, skating on the thin ice of a contrived, formulaic scenario. Mozart’s comedies are long, too, but they have the Master’s music to give everything a special lustre. Salieri’s music is thoroughly pleasant and well-crafted, but it never touches the soul.

But let’s concentrate on the performance itself. A fine band of musicians were seated stage right where, under the direction of Catherine O’Shaughnessay (above), they played with spirit. Chris Fecteau, dell’Atre’s Artistic Director, was at the harpsichord. An ensemble of young singers appeared variously as rustics, shepherdesses, and huntsmen. Claire Townsend’s costumes blended Ms. Goodwin’s commedia dell’arte references with Highland plaids for Milord and his entourage. 

Topping the cast in a virtuoso performance as Rusticore was Angky Budiardjono (above). This gifted baritone had made a notable impression as Silvano is last year’s dell’Arte CALISTO; as Rusticore today, Mr. Budiadjono had the chance to dominate (or steal) scene after scene, and he seized every opportunity – both vocally and dramatically. In the tradition of the great buffos, Mr. Budiardjono’s diction – and his relishing of the words – was a delight; his timing of interjections into other character’s scenes was priceless. But the Budiardjono voice is too attractive and expressive to be limited to buffo parts: I think he has limitless possibilities.

Mezzo-soprano Allison Gish (Lisotta) is likewise a singer who has it all: a plushy instrument of vast range, and a knack for comedy. She simply threw herself into the role, singing with flair, and running the gamut of facial expressions from snobbish to sassy with telling effect. Ms. Gish’s Act II aria was a vocal high-point of the afternoon, a tour de force really. But much earlier, she endeared herself to me as an actress when Milord’s servant Leandro (played by Stephen Steffens) made bawdy gestures towards her. Allison’s Lisotta got the message – loud and clear – and signaled back that she was ready, willing, and able. Ah, a libidinous girl…a girl after my own heart: I laughed out loud.

But the Gish voice: this is the sound we want for Erda, for 1st Norn, for the Handel contralto roles, and the Brahms ‘viola’ songs.  

Above: Jay Chacon as Sandrino and Allison Gish as Lisotta. Mr. Chacon’s wooing of Lisotta is a long and tormented ordeal: this is a Pierrot desperate for his Pierette, and willing to endure her hard-hearted rebuffs until his patience wins out. Mr. Chacon played the role to perfection.

Above: Rachel Barker-Asto as Eurilla with Angky Budiardjono as Rusticore. Ms.Barker-Asto has a bright, lyric-coloratura sound which Salieri’s writing stretches to some uncanny low notes, just as Mozart stretches Fiordiligi and Constanze. Ms. Barker-Astro met the vocal demands with assurance, and is as pretty a girl as I’ve seen on any stage.

Above: tenor Timothy Stoddard as Milord Fideling. Mr. Stoddard bought an ideal combination of vocal grace and princely bearing to this part. He and Ms. Barker-Asto made their duet of mutual attraction a vocal highlight of the long-running second act.

Rounding out the cast of principals was Stephen Steffens as Milord’s manservant Leandro. He made a pleasing vocal impression and, as already noted, showed a randy streak when first setting eyes on Lisotta. Later, while the girl’s singing her big aria, Mr. Steffens executes a hilarious dance routine in the background.   

Above, from left: Allison Gish, Timothy Stoddard and Stephen Steffens (background), Mr. Chacon and Ms. Barker-Asto, with Mr. Budiardjono (back to camera) and the center     

One interesting vocal aspect of the afternoon was that, at various points, Mssrs. Chacon, Budiardjono, and Steffans each had to sustain a very looooong note. Their supplies of breath seemed endless. In Act I, a particular line – “…e giubilar mi fa!”  – caught my ear: straight out of Mozart’s NOZZE. And throughout the opera, characters kept saying: “I swear on this head of cabbage…!” Hilarious!

Though the music began to wear thin in Act II, Ms. Goodwin and her cast never let their energy slump. The audience seemed genuinely taken with the production, showering everyone onstage with enthusiastic applause at the end.

All production photos by Brian Long.

~ Oberon