Il Viaggio a Reims at Deutsche Oper Berlin
Originally written in 1825 to commemorate the aforementioned coronation, IL VIAGGIO A REIMS is less of a traditional narrative opera and rather a “scenic cantata”—a glittering excuse to showcase the greatest vocal talent of its time.
⭐️⭐️
🎭 Il Viaggio a Reims
🎶 Gioacchino Rossini
💭 Jan Bosse, 2018
🏛️ Deutsche Oper Berlin
🗓️ 27.12.2024
“NOW THAT MOST PEACEFUL HARMONY REIGNS, EUROPE‘S DESTINY WILL BE EVER BLESSED”
Rossini’s IL VIAGGIO A REIMS at Deutsche Oper Berlin is a comedic jewel of bel canto brilliance. While the title hints at an epic journey, don’t expect much traveling from its characters—instead, the opera unfolds as an extraordinary showcase of vocal virtuosity and ensemble theatrics across 25 small scenes during which we are intimately acquainted with the characters.
Set in a luxurious spa hotel, the story brings together a group of 14 (!) more or less equally important characters, each with their own personality quirks, desires, and conflicts. Several of these can be understood as stereo- or archetypical representations of a European country. Through a succession of arias, duets, and ensemble pieces, we are treated to diva meltdowns, temper tantrums, love triangles, and patriotic toasts (complete with musical nods to more than one national tune). When their planned journey to Reims for the coronation of King Charles X is derailed by a lack of horses and carriages, the group quickly pivots to a new destination: Paris, where they will attend a great feast in celebration of the new king.
In this production, the spa hotel is staged as a locale more akin to an old-school “insane asylum” with all walls, doors, and the ceiling made entirely of a mirrored surface. The “hotel” staff dons nurse aprons and scrubs, and the guests/patients are regularly administered a little pick-me-up intravenously. With this simple mirrored stage, the real visual impact is made by the costumes: hilariously high platform sandals, extravagant wigs, matching kimono-esque gowns in all colors and prints, steampunk-y dresses. At one point, our European visitors wear silky underpants in the colors of their modern national flags, under which ANOTHER pair is revealed with the EU stars—sans the UK or Russia, though, prompting laughter in the audience.
Originally written in 1825 to commemorate the aforementioned coronation, IL VIAGGIO A REIMS is less of a traditional narrative opera and rather a “scenic cantata”—a glittering excuse to showcase the greatest vocal talent of its time. Rossini wrote it specifically with the extraordinary singers of the Parisian Théâtre-Italien (where is was first staged) in mind, demanding a stellar roster of no less than (if my counting isn’t off): 3 prima donna sopranos, an alto, 2 tenors, and 4 baritones and basses in leading roles. The result is a dazzling tapestry of voices and orchestral artistry, brought to life here by the exceptional soloists and orchestra of Deutsche Oper Berlin. Bravi tutti!
What makes IL VIAGGIO A REIMS so remarkable next to its historical context is its contemporary rediscovery. The opera was lost for over a hundred years after its initial performances, only to be unearthed in Rome in the 1970s. How lucky we are to be able to enjoy it today! A proof that the operatic repertoire might still hold many treasures waiting to be found anew. One can’t help but wonder: what other masterpieces might yet surprise us in the decades to come?
