La Donna Serpente

Italian composer Alfredo Casella (1883-1947) is often associated with the avant-garde (he even flirted briefly with atonality), but this 2016 Torino production of his most successful opera, first performed in 1932, proves not only accessible but delightful. A fairy princess named Miranda is allowed to wed the mortal King Altidòr on condition that she will test his love by committing a heinous act after nine years. If he curses her, she will be transformed into the titular snake woman, condemned to roam the earth for two centuries. When Altidòr is tricked into believing that Miranda has killed their children and denounces her, the curse takes effect—although being a fairy-tale, her transformation is ultimately reversed for a happy ending. Written in the spiky neo-classical style of Stravinsky and Prokofiev, the score is lively and engaging, with several orchestral interludes inserted to allow for exuberant ensemble dances. Gianandrea Noseda leads his company orchestra and chorus in a spirited, well-drilled performance, made all the more vivid by Arturo Cirillo’s imaginative physical production, which boasts simple but elegant sets and colorful costumes. As Miranda and Altidòr, soprano Carmela Remigio and tenor Piero Pretti handle Casella’s substantial vocal demands with aplomb, and the supporting soloists are excellent across the board, with Sebastian Catana especially imposing as Miranda’s father, the king of fairyland, who initiates the plot. A superb revival of Casella’s unjustly neglected opera, this will be a revelation to opera lovers. Presented in DTS 5.1 (DTS-HD 5.1 on the Blu-ray release) and PCM stereo, this is highly recommended. (F. Swietek)