FRIDAY, JULY 10, 7PM | AURORA
Veda Zuponcic Auditorium,
Mesabi East Schools
Pre-opera talk by Bill Bastian in the Board Room 90 minutes prior to curtain.
SUNDAY, JULY 12, 3PM | VIRGINIA
Rock Ridge High School
Pre-opera talk by Bill Bastian in the Bezeck Career Center 90 minutes prior to curtain.
MONDAY, JULY 13, 7PM | ELY
Washington Auditorium
Pre-opera talk by Bill Bastian in the Library 90 minutes prior to curtain.
L’IALIANA IN ALGERI (THE ITALIAN GIRL IN ALGIERS)
Music by Gioachino Rossini
Libretto by Angelo Anelli
Joseph Marcheso, conductor
Ian Silverman, director
CAST
Isabella, the Italian girl who is searching for her lover Lindoro ……………………………………….. Lisa Chavez
Lindoro, in love with Isabella but forced to work for Mustafa to pay off his debts ……………………………………David Walton
Mustafà, owner of the restaurant and mob boss ………………………………………… Nathan Stark
Taddeo, Isabella’s assistant on her travels, but also in love with her ……………………………………. Rafael Porto
Elvira, Mustafa’s wife who is loyal to him to a fault ………………… Laura Corina Sanders
Zulma, Elvira’s confidante …………………………….. Melanie Ashkar
Haly, Mustafa’s right hand man and “fixer” ………………… Igor Vieira
Chorus and workers in the bar.
L’italiana in Algeri Cast & Creative Team
Ari Kim
Lighting Designer
SYNOPSIS
ACT I
At Mustafà’s Harem Bar and Grill, Elvira, complains that her husband, restaurant owner and part time mobster, Mustafà, no longer loves her. Mustafà bursts asserting he will not let women get the better of him. Mustafà has tired of his wife and will give her to Lindoro, a young Italian forced to work off his gambling debts, to marry. He orders Haly, his right hand man, to provide an Italian woman for himself, someone more interesting than the girls in his employ, all of whom bore him. Lindoro longs for his own sweetheart, Isabella, whom he lost when he was captured.
Later, Isabella arrives after being shipwrecked. Though in danger, she is confident of her skill in taming men. Haly seizes Taddeo and Isabella, but when he learns that both captives are Italian, he rejoices in having found the new star for their “Harem”. Taddeo is aghast at the aplomb with which Isabella takes his news. After a quarrel about his jealousy, they decide they had better face their predicament together.
Elvira’s slave, Zulma, tries to reconcile Lindoro and her mistress to the fact that Mustafà has ordered them to marry. Mustafà promises Lindoro he may return to Italy, if he takes Elvira. Seeing no other way, Lindoro accepts.
Mustafà welcomes Isabella with ceremony. Elvira and Lindoro, about to leave for Italy, come to say good-bye to the boss, and Lindoro and Isabella are stunned to recognize each other.
To prevent Lindoro’s departure, Isabella insists that Mustafà cannot banish his wife, adding that Lindoro must stay as her own personal servant. Between the frustration of Mustafà’s plans and the happy but confused excitement of the lovers, everyone’s head reels.
Act II
Elvira and various members of the staff are discussing how easily the Italian woman has cowed Mustafà, who declares he will visit Isabella for coffee. Isabella is upset because Lindoro apparently broke faith with her by agreeing to escape with Elvira, but he reassures her of his loyalty and she promises to come up with of a scheme for their freedom.
Mustafà reappears, followed by attendants with the terrified Taddeo, who is to be honored as Kaimakan, or personal bodyguard, in exchange for helping secure Isabella’s affections. Dressed in Turkish garb, he sees no choice but to accept the compulsory honor.
Next, Isabella dons Turkish clothes herself and prepares for Mustafà’s visit. To make him impatient, she keeps him waiting, as her “servant” Lindoro acts as go-between. At length she presents herself to Mustafà, who introduces Taddeo as his Kaimakan. Mustafà sneezes—a signal for Taddeo to leave—but Taddeo stays, and Isabella invites Elvira to stay for coffee, to Mustafà’s displeasure. When Isabella insists that he treat his wife gently, Mustafà bursts out in annoyance, while the others wonder what to make of his fulminations.
As Lindoro and Taddeo plan their escape, Taddeo says he is Isabella’s true love. Lindoro is amused but realizes he needs Taddeo’s help in dealing with Mustafà, who enters, still furious. Lindoro says Isabella actually cares very much for Mustafà and wants him to prove his worthiness by entering the Italian order of Pappataci.
Isabella readies a feast of initiation as Mustafà arrives. The lovers prepare to embark with the rest of the Italian captives. When Mustafà finally responds, the Italians have the situation under control and bid a courteous farewell. Mustafà, his lesson learned, takes Elvira back, and everyone sings the praises of the resourceful Italian woman.
DIRECTOR’S NOTE
Creating this production has been such a wonderful artistic challenge. L’italiana in Algeri is one of Rossini’s greatest scores with such vibrant moments like the Act 1 Finale and the Quintet that stand as some of the greatest comedic scenes in the canon. However, due to its subject matter, it is rarely produced as it provides a quagmire for directors to solve. We wanted to create a production that pays homage to tradition of L’Italiana, but presented in a lens for a modern audience.
The biggest challenge when conceptualizing the piece was removing any criticism of Mustafa away from his religious or cultural beliefs and to his morals and actions. Mustafa is not barbaric because he is Muslim, but because of the way he runs his business and treats the people, particularly the women in his life. We’ve worked to remove many of the references to religion and turn the “culture war” at the heart of the story into a battle of old vs young instead of east vs west.
To help do this we have decided to set the piece in an Algerian inspired restaurant, Mustafa’s Harem: Bar and Grill, that Mustafa owns. I have been colloquially describing it to people as an “Algerian Hooters”. Mustafa is a mob boss who enslaves his debtors into working for his restaurant to pay off their debts. He has his employees dress in traditional costumes and perform various stereotypical entertainment like belly dancing or sword dancing as entertainment. In essence, he is cosplaying as a Bey.
To contrast Mustafa’s seedy world, the “Italian Girl” is a contemporary woman who finds Mustafa’s business practices outdated and offensive. She ends up taking it upon herself to fix things by freeing his employees of their debts to him and making him rethink the way he handles both his personal and professional life.
We’ve also narrowed the scope of the production to heighten both the comedy and the dramatic stakes of the piece. Everything takes place within the main dining room of the restaurant and there are constant near misses of people trying to find who they are looking for.
Additionally, we have unified the chorus to be one entity. Instead of playing pirates, Italian slaves, eunuchs, etc. They are all employees of the Harem that are working off their debts and will be saved by Isabella. This helps minimize confusion in an already convoluted plot.
It was important to keep a spirit of fun, mischievousness, and comedy throughout the piece. While the story is filled with social commentary, the comedy is always in the driver’s seat. Laughter is truly the best medicine and provides us another context to see the world in. I invite you to sit back, enjoy yourself, laugh, and be taken on this wild ride together.
Enjoy the show!
Ian Silverman









