The Turk in Italy (1992)
A Comic Drama in Two Acts
Music by Gioachino Rossini
Libretto by Felice Romani
English translation by Andrew Porter
The opera is given in the critical edition by Margaret Bent of which these performances are the first in the United States. The materials are furnished by Fondazione Rossini Pesaro, in cooperation with G. Ricordi & C., S.p.A., Milan, Italy; Hendon Music Inc., a Boosey & Hawkes company, sole agent in the U.S.A.
The Turk in Italy was first performed at La Scala, Milan, on 14 August 1814.
Dates of Performance
May 23, 27, 29; June 4, 9, 14, 20 (matinée)
1992 Season
Madame Butterfly   The Turk in Italy
The Vanishing Bridegroom A Midsummer Night’s Dream
Photo Gallery
Cast
David Evitts
Selm
Erie Mills
Donna Fiorilla
Joseph McKee
Don Geronio
Jeffrey Francis
Don Narciso
Terry Hodges
Prosdocimo
Kristine Jepson
Zaida
Robert Baker
Albazar
Creative Team
Kenneth Kiesler
Conductor
Ken Cazan
Stage Director
John Conklin
Designer
Christopher Akerlind
Lighting Designer
Philip Gossett
Musical Consultant
Cary John Franklin
Chorus Master
Kimberley S. Prescott
Stage Manager
Andrew Saboe
Assistant Stage Manager
Mickey Hillmer
Assistant Stage Manager
Tom Watson
Wig Master & Makeup
Gail Andrews
Repetiteur
Synopsis
The poet, Prosdocimo, has been trying in vain to write an opera libretto. Late one night, as he falls into a fitful sleep, he dreams of an ocean beach and a group of gypsies who help him develop a plot.
Fiorilla is married to an older man, Geronio; she also has a lover, Narciso. She is bored with both of them. When the powerful Turkish pasha, Selim, arrives, she flirts with him. Her husband and her lover are dismayed, but are too much in awe of the Pasha to challenge him—and too afraid of Fiorilla to confront her.
The Pasha does not know that his former fiancée, Zaida, and her servant, Albazar, are in disguise and hiding with the Poet’s gypsy muses. The Poet reunites the Pasha and Zaida and all goes well until Fiorilla enters, seductively dressed as Cupid’s mistress, and re-enchants the Pasha. Zaida, in a fury, challenges her. Geronio panics, Narciso stews, the Pasha is caught between the two fighting ladies, and the Poet is enraptured at the exciting developments in his libretto.
With the help of some wine, the Poet encourages Geronio to confront his wife about her affair. The Pasha interrupts; and they argue vehemently about who will eventually win Fiorilla. Fiorilla, meanwhile, tries to force the Pasha to choose between her and Zaida. Horrified at the Pasha’s indecision, Zaida gathers her dignity and leaves, and Fiorilla and the Pasha agree to run off together that night during a masked party. The Poet, however, arranges for Geronio to be disguised as the Pasha and attend the party to reveal Fiorilla’s betrayal — and after a series of developments too complicated to describe, all the lovers are eventually reunited.
The Poet has finished his libretto and is drifting off to sleep when he is startled by an odd noise in his room…

Opera Theatre extends profound thanks to the anonymous donor whose extraordinary generosity has made this production possible.
The soloists for these performances are sponsored by Dr. Gene Spector, Ms. Barbara Messing, Mr. & Mrs. David Mesker, Dr. & Mrs. Richard Shaw, Dr. & Mrs. William B. Firestone, Dr. & Mrs. Matthew Newman, Mr. & Mrs. Franklin Jacobs, and Mr. J.C. McLaughlin.
Mr. Kiesler’s appearance as conductor is made possible through the generous support of The Edward Chase Garvey Memorial Foundation.
The special matinee presentation of A Turk in Italy for St. Louis area seniors is underwritten by a generous grant from The Southwestern Bell Foundation.

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