Opera Philadelphia’s ‘Il Viaggio a Reims’ impresses with a minimal plot and a strong orchestral performance.

Opera Philadelphia opened its landmark 50th season with a vibrant rendition of Gioachino Rossini’s lesser-known opera Il viaggio a Reims, performed at the Academy of Music last Friday. This light opera, characterized by an absence of tragedy and minimal plot, instead shines with remarkable melodies and celebratory arias, providing a delightful experience for attendees.

Given its unique status as a grand yet obscure work, Il viaggio a Reims was a bold choice for the season opener, particularly considering the affordable ticket pricing, which helped ensure filled seats across the production’s four performances. The enthusiastic audience displayed a robust appreciation for the lively production, although a few individuals chose to depart during intermission. For future audiences, it is advisable to stay for Act II, which provides considerable musical and dramatic rewards.

Originally composed for the coronation of Charles X in 1825, Il viaggio a Reims resurfaced from obscurity after 150 years. Musically, the opera thrives on its rich orchestral textures and a standout patter song that spans ten stanzas, as well as an exquisite a cappella chorus featuring 14 parts. However, the theatrical elements of the piece are notably lacking in depth, presenting largely superficial characters drawn from the social elite of 1820s France.

The production, imported from the Dutch National Opera and directed by Damiano Michieletto, sought to inject freshness into the story by relocating the setting from a traditional hotel to a modern art gallery. This innovative staging features characters emerging from a historical coronation painting that converses with contemporary artwork, including pieces by Keith Haring. While this interpretation may not enhance the narrative cohesion of the opera, it certainly adds a colorful and visually invigorating layer to the performance.

The second act brings greater dramatic resonance as the characters reconnect with their painted origins. While the execution of this concept echoed themes found in Stephen Sondheim’s Sunday in the Park with George, its effectiveness varied.

Under the baton of Corrado Rovaris, the orchestra delivered a polished and vibrant performance, successfully supporting Rossini’s intricate compositions. The challenge for Opera Philadelphia lay in assembling a cast that could meet the formidable demands of Rossini’s writing while still engaging with the somewhat shallow characterizations.

Among the ensemble, Lindsey Reynolds emerged as a standout, offering both impressive vocal agility and charisma in the role of Contessa di Folleville. Emilie Kealani, portraying Corinna, captivated audiences through her consummate lyricism, particularly in the aria “Arpa gentil.” Alasdair Kent and Minghao Liu also showcased promising talents in their respective roles, though the larger voice of Scott Conner as Lord Sidney occasionally overshadowed Rossini’s subtleties.

Brenda Rae was the most recognized name in the cast, taking on the pivotal role of Madama Cortese. Her performance was a study in contrasts—at times tentative, yet capable of remarkable moments. The much-anticipated patter song “Medaglie incomparabili” was performed effectively, albeit somewhat overshadowed by an ambitious staging choice.

Overall, Il viaggio a Reims contributes to Opera Philadelphia’s ongoing mission of diversifying its repertoire, even as some high-concept stagings may risk overwhelming the operatic experience. Remaining performances of Il viaggio a Reims are scheduled for September 21, 26, and 28 at the Academy of Music, with ticket prices ranging from to 6. For more information, interested parties are encouraged to visit the Opera Philadelphia website.