This performance was a frolic. It displayed a combination of two quite different buffo operas, and yes, it worked. Pergolesi’s La Serva Padrona and Livietta e Tracollo combined, found a zany success. I had my doubts at first, but was laughing my head off soon enough. The better-known of the two, La Serva Padrona, revolves around the character Uberto, a pomposo, energetically sung by Douglas Williams. Sad Tracollo was sung winningly by Jesse Blumberg.
Is there a more passionate art form than opera? In what other mode is the uninhibited expression of feeling—tragic or comic—so central? More central than reason. Given the emotional liberation of great music, what can in a mere plot description appear to be absurd (a woman tossing the wrong baby into a fire; a “fallen woman” sacrificing her entire future and the happiness of her lover for the sake of her lover’s respectable sister; a man killing his best friend in a duel because he has flirted with his girlfriend; a nobleman secretly meeting his own wife in disguise—madness, murder, and deception) can become through music profound and moving, Revelation and Catharsis.