Rossini's Showcase
- Tom Richards
- Jun 24
- 4 min read
With Il viaggio a Reims, (The Journey to Reims) Rossini celebrated the new French king, Charles X - and mocked much of European society.
The politically complicated coronation of Charles X was a cut-down affair, and a commission to Rossini for an opera was one of only two entertainments.
Rossini, recently returned to Paris, responded with a grand ensemble comedy piece, about self-important internationals failing to get to the coronation. It was highly popular in Paris, possibly because of his mockery of the event, but more likely because it contained some of his most brilliant vocal writing. But after the celebratory performances, he sought no further staging, instead recycling at least nine of the brilliant arias for his late comedy, Comte d'Ory. After his death, Viaggio was ignored, and the original score lost until recent times. There's an account here of the "musical detective story" of experts tracing bits of libretto and music and putting them together.
The Story (such as it is!)
For entirely unnecessary detail here's the synopsis provided by the Rossini festival , which stages this opera every year with young singers. It tells of the stunning silliness of this nonopera - you can enjoy the singing without knowing anything about the plot.
Here's a brief summary. "The opera plot, if it can be called that, makes a parody of stereotypes of various nationalities who become stranded, through lack of horses, at the Golden Lily Inn on their way to the Coronation of Charles in Reims. The complications of the plot involve secret love, a bit of two timing by a tenor, a challenge to a duel and an agreement to spend the money saved by their aborted journey on a grand banquet. The final scene is a divertissement to celebrate harmony, each guest singing a song from his or her own country. This ends with an improvisation by Corinna on the new King and the guests sing a final tribute to the glory of France .
The characters
It's all about the characters - and the roles require brilliant acting as well as incomparable singing! There's a full list on Wiki of course. First we meet the staff of the Golden Lily Inn - housekeeper Maddalena, and Madame Cortese, the proprietor, her servant Antonio and Don Prudenzio, the hotel's quack doctor.
Now for the illustrious voyagers, arriving, ready to travel to Reims. The fashionable Contessa di Folleville is travelling with her beau, Chevalier Belfiore , a part-time painter. Her luggage has been lost. (Her maid, Modestina finds one hat, subject of a grand aria. )
Then there's the Marchesa Melibea, travelling with Conte di Libenskopf, and his rival Don Alvaro.
Corinnna, the mysterious poet, is first heard off-stage, with harp accompaniment. She is accompanied by a Greek lady, Delia. And loved by the very English Lord Sidney.
The Marinsky production gives splendid detail of the intertwining of these characters. And Wiki gives even more.
The Music
It was for the coronation, of course, so all the top singers wanted in, and Rossini had the luxury of producing music for those voices. There are roles for three prima donna sopranos, a contralto, two tenors, four baritones and basses. Unsurprisingly it's been hard for later producers to find - and afford - such a cast.
The music is stuffed with irony from Rossini. The contessa has a send-up of the opera seria form, a grand aria about a hat. The first two acts introduce the caricatured guests interacting with the hotel staff and presenting themselves in solos. Act Two ends with the news that there are no horses to be had, so they cannot go to Reims (but grand celebrations will occur in Paris ); which provides the work's famous grand concerted ensemble for 14 intertwined voices, each character sings of their own emotions, yet the voices combine in what is often called one of the most sublime and complex ensembles in the history of opera.
The third act, opens with a substantial duet, worthy of Rossini's grandest, most serious operas, as the Marchesa and the Conte reconcile. But then the rest of the act offers a series of token national songs from each character, ending with an ensemble tribute to Charles X.
Our production
Directors have always claimed license to parody this opera, (and to dress the characters according to stereotypes). Left is the Marinsky image of Corinna.
Australian Opera created a 2019 production in which every character was immaculately copied from a famous painting: you can view this gallery here.)
Several companies have produced the opera with casts of young singers from their schools.
We are watching such a production - in 2005 - from the Marinsky theatre, with the Musical Director the legendary Valery Gergiev. The photos of their website tell the mood of this praised production.
Lyn, 24/6/26
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