Opera's screwball comedy: 'The Italian Girl in Algiers'

In his biography of Gioachino Rossini, the French writer Stendhal talks about the "uncontrolled and complete madness" of the composer's comic operas.

That assessment certainly holds true for "The Italian Girl in Algiers," which the Utah Opera will perform for the first time since 1994 starting March 13.

"It's filled with madcap hilarity," conductor Christopher Larkin said. "And (stage director Patricia Weinmann) does some hysterical things with the singers onstage."

When it premiered at the Teatro San Benedetto in Venice in 1813, "The Italian Girl in Algiers" was a thundering success. Rossini was just 21, but this was already the prolific young composer's 11th opera.

The libretto wasn't originally written for him but for Luigi Mosca. That opera premiered at La Scala in 1808. While popular for a time, it falls far short of the rollicking fun of Rossini's tuneful work.

"The Italian Girl in Algiers" is the early 19th century's version of a 1930s Hollywood screwball comedy. When it opens, Mustafa, the bey of Algiers, is unhappy because he has become tired of his wife, Elvira, and bored with his harem. He's ready to meet some new girls and orders his captain, Haly, to find an Italian girl for him.

Meanwhile, Isabella and Taddeo — an elderly admirer of Isabella's whom she passes off as her uncle — set out from Italy by ship to look for her fiance, Lindoro. Their ship runs aground and Haly and his men come upon them. When they find out their prisoners are Italians, they rejoice at their good fortune and head back to Algiers and Mustafa, with Isabella and Taddeo in tow.

At the bey's palace, Isabella is shocked to run unexpectedly into Lindoro, who is now one of Mustafa's trusted slaves. The two plot their escape from Algiers, concocting a fanciful scheme to dupe Mustafa by having him believe the only way to win Isabella's heart is to enter the order of the Pappataci (literally "eat and be silent," but here implying the convenience of having a complaisant husband).

While Mustafa eats and drinks, Isabella and Lindoro flirt with each other. Taddeo keeps reminding Mustafa to ignore them, because it's all part of his test to see if he's worthy of being a Pappataci.

As this goes on, a ship docks in the harbor, and Isabella and Lindoro sneak on board, sailing away to freedom. Mustafa realizes he's been duped, but his wife gladly takes him back. The opera ends with everyone admiring how resourceful Isabella was in getting her way with Mustafa.