(Photo: Armati Bacciardi)

Over the next few months, OperaWire will be reviewing a number of productions at a variety of festivals across the globe. One name that keeps cropping up, at least in Europe, is that of Rosetta Cucchi. Blessed with a never-ending supply of energy and ideas, she always has one project on the go with others in the pipeline. One might think that being the artistic director of the Wexford Festival Opera, in which each year she oversees three main opera productions, the Wexford Factory Young Artist Program, and many other events, including recitals, pop-up events, and short operas for an afternoon series along with the production of a hugely successful community opera, which she was responsible for introducing and usually directs herself, would be enough to keep her occupied, but think again!

This summer, she will also be directing new productions at two of Europe’s most prestigious festivals. At the International Händel Festival in Göttingen, she will be directing “Tamerlano,” while at the Rossini Opera Festival in Pesaro, she will bring to the stage the composer’s riotously funny “L’Italians in Algeri.” And if that is not enough, she will also direct the Wexford Factory’s production of Rossini’s “Il Viaggio di Reims.”

OperaWire managed to track her down for an interview to find out how it is all progressing.

OperaWire: You are about to direct “Tamerlano” in Göttingen at the International Händel Festival. What can you tell us about the production?

Rosetta Cucchi: This is my first time in Göttingen, and it’s the first time I shall be directing “Tamerlano.” Obviously, I know the opera; it is one of Händel’s most famous works. Nevertheless, you never really know an opera until you start to study it, and it was then that I started to realize how psychological it is. Often, Händel operas have pastoral scenes, but there is nothing like this here. Everything takes place inside, and there are only a few characters who confront each other in a battle for power. In many ways, it is very realistic, as is the fact that a man who runs everything and owns everything is not happy. It is not enough for him; he is not content. He challenges others but also himself.

These were my initial observations, which I then built upon.

I would say that Bajazet and Tamerlano are the two characters that make a big impression in the opera. Asteria is also a significant character, but she does not possess the psychological depth of, say, Desdemona in “Otello.” In this case, therefore, the interest lies more in the psychology of the two men. There is also a third man, Andronico, who also has an interesting character; he is on a journey, and during the course of the opera he changes himself.

A psychological drama on its own does not work, at least not for me. Fortunately, there are plenty of theatrical episodes in “Tamerlano” that I am able to take advantage of, but the thrust of the drama, however, is definitely psychological.

I have set the opera in the present day. Every costume and every prop used by a character is connected to their position and relationship to their background. The costumes will therefore be very different from each other. For example, Bajazet and Asteria take their power from nature, so they will have clothing with items and symbols representing nature, while Tamerlano is civilized and grey. For the staging, I have tried to represent the psychological aspects of the drama by setting it in a dark space, similar to a box, that slowly starts to crack and fall apart.

OW: Do you approach baroque operas differently from operas from other periods?

RC: Yes, I do! Baroque operas give me more freedom. Even if the numbers are very tight and closed, you have much more freedom than in Romantic operas, for example. You are able to follow your own path, and I love to do that. The first time I directed a baroque opera, which happened to be “Rodelinda,” another opera by Händel, I looked at the da capos and thought, what was I supposed to do with them? But actually, it gives you the possibility to develop a thought and to put it on stage. With the Romantic repertoire, you have to compromise; the libretto is very specific, and that applies to the music as well. In the baroque, the music flows around you, and you can catch it and use it. So, I am always happy when I’m invited to direct a baroque opera.

OW: At this year’s Rossini Opera Festival in Pesaro, you will be directing “L’Italiana in Algeri.” What can you tell us about this production?

RC: Well, I intend it to be funny. After all, it is one of the funniest operas that exist. It is comparable to the humor of the Marx Brothers and Buster Keaton or Monty Python; it seems to have no sense to it. Everything is surreal, which I love. But I want to add a little transgression, and I take my inspiration from “Priscilla, the Queen of the Desert.” I hope, in fact I am sure, that it will be funny. I will be looking at gender in a humorous way. I think people will love it, although some will hate it, but I am confident they will all find it funny.

OW: Putting on your “Artistic Director of Wexford Festival Opera” hat, can you tell us your impressions of last year’s festival?

RC: Well, I think that last year’s festival was very successful. Personally, I like some of the operas more than others, but that is normal. I really think that the festival went well because the atmosphere was good, the productions were of a high standard, and the sparkle and the quality were definitely there, more so than in the last couple of years; it has definitely taken time for the festival to grow back after COVID! Each year, I see more of the festival return to what it should be. So yes, I was happy about the festival, both the main operas and the other events.

My favorite production, certainly in terms of laughter, was Donizetti’s “Le convenienze ed inconvenienze teatrali.” Even though I had so much work to do, every time it was on stage, I would come down to watch it. It was so funny! However, I loved Stanford’s “The Critic.” and I thought the director, Conor Hanratty, did a very good job. I liked the English humor in it. The afternoon opera “Lady Gregory in America” by Colm Tóibín and Alberto Caruso was also very good. They worked very well together, and I think that Tóibín is a really brilliant writer.

The community opera “L’elisir d’amore” was a big success. I love the opera, and I love to work with the community. I directed the community opera last year and the year before; it is a real joy. We meet monthly, throughout the year, to prepare the local people involved in the opera. This year, the opera will be Britten’s “The Little Midsummer Night’s Dream,” and I have given the direction to somebody who is more familiar with the piece and has a knowledge of the language.

For a festival like Wexford, I think it is very important to engage the community in an artistic way. I know the community is already involved in the festival through its many volunteers, but it is also possible to involve people artistically as well; it is a wonderful experience watching them present themselves very directly as they perform in front of the public. Their families are also enthused by the event and come to see it. It is always the first event to sell out!

OW: So, what do you have in store for this year’s festival?

RC: This year’s theme is “Myths and Legends.” Often people don’t realize that they are more actual than what we think. Myths come from the past, but this can also mean yesterday, and we find them in every society, and we know of them, for example, Orfeo and Eurydice, the gods and goddesses of Rome and Greece, and the Norse legends; they all have an effect on us. So, I have picked three very different operas with three different myths.

The first is not that rare. It is “Le Trouvère,” the French version of Verdi’s “Il Trovatore.” It is not just a version sung in French instead of Italian; it includes dances and seven numbers that have been changed. I am really looking forward to doing a Verdi opera at Wexford; it is not that easy to find an opera by Verdi that you can call neglected or forgotten. We will be doing five performances, rather than the normal four.

We will also be doing Händel’s “Deidarmia,” Händel’s final opera, which George Petrou will be conducting. With its many characters from Greek myths, like Ulysses and Achilles, it is a perfect fit. It is a very interesting opera, and I expect the audience to enjoy it.

The third opera is “The Magic Fountain” by Delius, which is about the fountain of youth. Also, this year I will be directing the Wexford Factory in a production of Rossini’s “Il Viaggio A Reims” to celebrate the opera’s 200th anniversary. It is an opera of pure fun!

For the Pocket Operas, we will be doing “La Tragédie di Carmen,” an adaptation of Bizet’s “Carmen.” It is the same story but compressed in order to concentrate the power of the emotions. The second one will be “Der Zwerg” by Zemlinsky.

Also, I am very pleased to announce that Colm Tóibín will be returning with an event called “Urban Legends.” This will be very different from what we have done before. The work will be in three parts of 20 minutes each and will be performed over three nights after the main opera has finished. It will be performed in the first and repeated in the second week. The three tales are called “North Main Street,” the second “South Main Street,” and the third “The Bull Ring.” It is about a man and a woman who slowly come together and meet each other. The music will be written by Andrew Synnott.

I think we have created an interesting and balanced program with much for the audiences to enjoy.