Le Comte Ory, Metropolitan Opera HD Live, April 9 2011

The local theater was fuller than expected for this Rossini rarity, in its first-ever production by the Metropolitan Opera. Were these people who have a commitment to see all of the broadcasts? Were they Rossini devotees? Were they people who have seen their fill of Bohemes and Traviatas and are excited by something new? I can only speculate. A bit of all of the above apply to me.

Le Comte Ory was Rossini’s last-but-one opera, followed only by William Tell. The plot is somewhat similar to The Barber of Seville: the tenor desires to get into the lady’s house, and adopts a couple of disguises to do so. But here, he fails in his quest. He also has a rival for the lady’s affections: his page, Isolier, who actually first has the idea of disguise.

The production was of the “play within a play” sort. On the Met stage, we saw ... a stage, a low-rise contraption of boards and planks and stairs with a few steps, on which secondary stage the action takes place. Stage machinery, including a large winch operated by a supernumerary, was clearly visible to the left of the stage. Other supers performed set changes by moving potted trees and other props, in full view of the audience. It was a workable concept, though a far cry from a “stunning” production.

Our cast:
Count Ory: Juan Diego Florez
Isolier: Joyce DiDinato
Countess Adele: Diana Damrau
Ragonde: Susanne Resmark
Raimbaud: Stephane Degout
Tutor: Michele Pertusi

I have yet to join JDF’s fan club. The high notes that he is famous for sound strained to me. For me the standout performer was Diana Damrau, whose high notes were positively beautiful. Michele Pertusi also acquitted himself well as the Tutor, and Joyce DiDinato made a very believable Isolier. Lots of fine singing, but it failed to redeem the lackluster music and staging. A gamma or perhaps a shade better.