Ileana Cotrubas stars in a scene from "La Gazza Ladra"
Tragicomedy, or drama that seems to move toward a tragic ending but finishes happily through a twist in the plot, is not unusual in the world of theatre. We find them in abundance in our stageplays and musicals. Operas that follow the tragicomic scheme, however, are few and far between. Most of the operatic storylines in the permanent repertoire are either classed as seria (darker storylines with unhappy endings), or buffa (humourous storylines with happy endings). It is far less common to find a true semi-seria. This is the musicologist’s name for tragicomedy. One of the few grand operas that fit into this category is Gioachinno Rossini’s immortal work, ‘La Gazza Ladra’, or ‘’The Thieving Magpie’. This time-honoured classic tells the story of a young woman condemned for the theft of her master’s silverware, only to be saved through the discovery of the plunder in a magpie’s nest. It seems an uncomplicated tale when worded so simply, but within this theme are to be found betrayals, true love, deception, self-sacrifice, and inspiration.
Before we plunge headlong into the plot appeal of the piece, let us explore the music. The famous overture is both exhilarating and appropriate to the storyline. From time to time one runs across a misleading overture, in which the mood of the melody does not reflect the plot that is to follow. This is certainly not the case in ‘La Gazza Ladra’ – the expectant drum roll at the onset and frequent fluctuation of the instruments between major and minor keys masterfully foreshadow a drama brimming with interest and meaning. It is worth noting that this prelude is unique in that it juxtaposes orchestration from a duet found in the second act with tunes heard only in the overture. This superbly ties the piece to the rest of the opera, still allowing it individuality through its unshared movements. Rossini was certainly ahead of his time, as this practice did not become well known until Wagner’s generation, some thirty-five years later.
Practically every song, from the mellifluous aria, ‘Di Piacer’, to the heart-rending ‘Forse un di Conoscerete’, to the joyous ‘Giorgio! Giorgio!’, provides a generous helping of vocal acrobatics. Each is crafted in classic bel canto style. ‘Bel canto’, directly translated, means ‘beautiful singing’, and it definitely lives up to its name. Rossini despised singers who introduced their own embellishments to his score, so he liberally scattered ready-made cadenzas through his work. Some would declare that these ‘flowers and fireworks’ have no artistic value, and that they detract from the actual melody. These critics misjudge; Rossini displayed a perfect comprehension of the human voice as instrument. His cadenzas and prolonged notes are not thrills inserted merely to impress listeners, but play much the same role as woodwind trills or bassoon gurgles – they are very much a part of the orchestration. The voice is a glorified instrument with a deservedly exulted position. One has only to here a single stanza to know that Rossini’s grasp of bel canto is complete.
The librettists’ understanding of the use of recitatives is also highly refined. A great deal of judgement and knowledge of the storyline is required in the choice of whether a full-fledged song or a simple recitative would best express the thought. The writer, Giovanni Gherardini, was evidently aware of the fine line between the deep expression of feeling possible in a song and the clarity of a recitative.
The story itself that Gherardini and Rossini told is intriguing and thought-provoking. At a single hearing, the characters may appear one-sided; Ninetta virtuous, Gianetto loyal, the Mayor evil, and so on. However there is more to these characters than one would suppose. If one examines them closely, depth of personality, and even seeming inconsistencies arise. Take, for instance, Gianetto’s fear, or the Mayor’s feelings of pity in the trial scene. These ‘inconsistencies’ do not present lack of contemplation on the part of the librettist, but rather the opposite. The villagers are realistic human beings with faults and moments when they are not themselves. Many scriptwriters feel that if their pieces are to contain morals, the characters must perpetually exemplify either good or bad. This is not so in this opera. The moral of triumphant virtue is made through people like us, who are neither unbelievable buffoons as are found in buffa, nor such ethereal personalities as are found frequently in seria. Through the medium of semi-seria, one is given a picture of ordinary people against extraordinary-yet-fathomable odds. One can sympathize with Ninetta, Pippo, and Lucia because one can picture oneself in such circumstances. Join such characters with meaningful lyrics and marvelous music, and the result is the evening of a lifetime.
Amidst these numerous, glowing aspects of "La Gazza Ladra", there are few weaknesses. One of the most obvious is Fernando’s overlong duet with Ninetta in the first scene. This portion of the production, a sequence of three songs and an orchestrated recitative, is both extremely lengthy, and, for the most part, unmemorable. The first song, ‘Lieri, sul Tramontar del Sole’, has little or no musical charm, as the tune changes with each line, containing no running line of melody. It continues into a slow lament for Ninetta, all of five minutes in duration. This is a rather prolonged sentiment for presentation to an audience who has only just become acquainted with Fernando and cannot as yet have many feelings for him. Rossini’s probable reasons for introducing this number against the sparkling, harmonious whole are understandable, however. The altered style of music, combined with the length of the duet, aids in establishing that this turn in the path of the plot is significant. It also causes one to pay especial attention to the lyrics. While this explanation appears to make sense, one cannot help but wish that the composer could have found a more engaging manner of making the librettist’s point. On a more praiseworthy note, the song is redeemed by a quickening ending which calls to mind the segment of music following ‘Buona Sera’ in "Il Barbier di Siviglia", and heightens to almost patter-ish speed in ‘Io Tremo Pavento’. The tedium is also relieved by the brilliant solo for the Mayor that follows.
Another facet of the opera that may leave attendees unsatisfied is found not in the orchestrations or vocal parts, but in the plot itself. By the final curtain, patrons may be surprised to discover that the villainous Mayor goes unpunished! He, one of the most corrupt men in Rossini’s generally comical canon, the scoundrel who caused so much suffering and sorrow, the vengeful, scheming coward who momentarily appears to the audience the most abhorrent character that ever stemmed from a librettist’s fancy – he to go unpunished! The observer’s heart yearns for complete justice. It is not enough that for the rest of the cast ‘…all is fear and happiness instead of fear and dread’ – one wishes the Mayor to receive the bullet that was meant for Ninetta’s heart. At the very least, it would be gratifying if Gianetto gave him a good shove!
This ‘getting away with it’ is yet another portrayal of realism. The evildoers of the world are not always punished, at least in this life, and not all harms can be healed. Yet the Mayor, through his reaction to the situation’s outcome, has both his punishment and hope of redemption on a small level – his guilt over his actions towards the other characters. This is yet another evidence of Gherardini’s realization that it is not one-sided, equally rewarded and punished characters that teach us – it is those that bring us to the truth.
It would be impossible to touch on every ingredient that makes this opera such a delight for the senses and the intellect. This masterpiece can be enjoyed on various levels. For those who wish a worthwhile diverting story, those who take interest from unusual acting and singing challenges, those who revel in remarkable music, or, for that matter, anyone who will take the time to hear it, one rarely runs across better theatrical fare than this. "La Gazza Ladra" is a performance for everyone.
Post scriptem - For those hoping to find a DVD performance of the opera, I highly reccomend Michael Hampe's Cologne Opera production, filmed 1987, starring Ileana Cotrubas and Alberto Rinaldi.
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