An “Anti-Fidelio” Opera from 17th-Century Venice

Some of those attending this season’s performance by the San Francisco Opera of Ludwig van Beethoven’s Opus 72 opera Fidelio may know that the original version included the subtitle The Triumph of Marital Love or that the final chorus of the opera is basically a joyous hymn in praise of the faithful wife Leonore. Last night at the ODC Theater, Ars Minerva, led by Executive Artistic Director Céline Ricci, presented a seventeenth-century opera from Venice entitled Messalina with music composed by Carlo Pallavicino. Those familiar with the history of the Roman Empire or, perhaps, the fictionalized account in Robert Graves’ Claudius the God, may know that Messalina was the wife of the Emperor Claudius and that he was old enough to be her grandfather. In just about every respect, Messalina is an “anti-Leonore” character; and the Ars Minerva production is a joyous romp through sexual infidelities and dalliances among at least half a dozen different characters.

As Stage Director, Ricci displayed a rich repertoire of comic turns that those regularly attending Ars Minerva productions have come to expect of her. The synopsis for Messalina occupies less than two full pages in the program book, but it accounts for so many different convoluted relationships that one would do better to set it aside and just enjoy the ride. More important is Ricci’s skill in endowing each of the characters with identifiable traits and then leaving it to the viewer to account for who is doing what to whom. Those traits are often identified through the costumes designed by Marina Polakoff, who displayed an uncanny gift for providing the title character (soprano Aura Veruni) with one wacky outfit after another.

The entire production clocked in at about two and one-half hours. Nevertheless, Ricci consistently knew how to keep things moving; and much of her momentum drew its energy from the spirited accounts of the instrumental accompaniment. Those resources were conducted from the harpsichord by Jory Vinikour with consistent continuo support from Gretchen Claassen on cello and Adam Cockerham on theorbo. The more melodic passages also drew upon two violins (Cynthia Keiko Black and Laura Jeannin) and one viola (Aaron Westman).

Thus, between the wealth of physical comedy of dalliance and Pallavicino’s abundance of engaging music, the duration of the entire program proceeded at a spirited clip, resulting in an audience leaving the ODC Theater in high spirits.