Tragedy and comedy paired in a cleverly resolved outfit - Livermore Valley Opera's double bill, A Florentine Tragedy and Gianni Schicchi

A little under two years separated the premiere of Austrian composer Alexander von Zemlinsky’s A Florentine Tragedy (Eine florentinische Tragödie) and Giacomo Puccini’s Gianni Schicchi - January 1917 and December 1918 respectively. Until Saturday’s opening night, it’s unlikely these two one-act operas ever shared the same stage in a double bill but Livermore Valley Opera make a decidedly good case for presenting what they do have in common - and in notably fine quality. Under the leadership of artistic director Erie Mills, the ominously smouldering weight of Zemlinsky’s twisted tragedy and the high melodrama of Puccini’s black comedy come together in a cleverly resolved outfit.

Michael Day as Guido, Anush Avetisyan as Bianca and
Robert Mellon as Simone in A Florentine Tragedy

One is little known, the other a popular repertoire work. Both were originally set in Florence, A Florentine Tragedy in the 16th and Gianni Schicchi  in the 13th century. They pair sturdily under Layna  Chianakas’ passionate and detailed direction in an evocatively created setting that ingeniously places them both in 1917, somewhere between the time of their compositions. Europe is braced by war but domestic dramas are still being fought.

In what appears to be a marital breakdown in A Florentine Tragedy, travelling textile salesman Simone comes home to find his wife Bianca entertaining the uniformed soldier Guido, the only son of the king. A deeply unsettling journey ensues which Zemlinsky attempts to capture in music of drama and dissonance with snippets of melody that point towards the strains of a Hollywood epic. The results are a little choppy but Chianakas irons them out, making every move engaging and bringing extra eeriness and thrill to a tense love triangle. And without giving much away on the story, based on Oscar Wilde’s unfinished play of the same name, Chianakas might have you think the whole affair was concocted as part of a political assassination. And to tidy up its seemingly ludicrous ending, Bianca’s final action at least gives victory to a woman trapped by misogynistic dominance.

Ensemble, Giannin Schicchi

Gianni Schicchi is a less cerebrally challenging piece and a change of mood that brings on the laughs as the raucous relatives of rich old Buoso Donati gather around his deathbed, pretending to mourn his passing while desperate to find his will.   Nothing could spoil their day more than when they find out the monks have inherited his fortune. In arrives the scheming country peasant Gianni Schicchi, called to come up with a plan to deal with matters by young Rinuccio, who wants to marry Schicchi’s daughter Laurentta, much to the family’s disagreement.

The energy is high and the pasta in generous supply as cunning and greed share the same plate. Chianakas incorporates light and cheesy choreographed movements to extract as much comedy as possible. For both works she has the right mix of talent to help her.

Among them, robust and toasty baritone Robert Mellon is a standout, getting no sympathy as a beastly and sickening Simone in A Florentine Tragedy - role that takes on the bulk of the singing - and a comically scheming, big gesturing and well-presented peasant in the title role of Gianni Schicchi. Tenor Michael Day is another strong performer, first giving a handsome golden glow to Guido in A Florentine Tragedy, then outlining a Rinuccio full of sunshine and youth which radiates with warm lyric splendour in a wonderfully delivered “Firenze è come un albero fiorito”.

Michael Day as Rinuccio and
Anush Avetisyan as Lauretta in
Gianni Schicchi

As Lauretta, sweetness and elegance accompany Anush Avetisyan’s imploring “O mio babbino caro”, one of opera’s most endearing tunes, in Gianni Schicchi but it was her performance in A Florentine Tragedy that encapsulated Bianca’s complexity that really illuminated her dramatic prowess. And then there was fruity mezzo-soprano Deborah Martinez Rosengaus’ snarling and domineering Zita in Gianni Schicchi that added some priceless moments as part of the experience. The remaining cast stepped in line admirably as part of Gianni Schicchi, including Kirk Eichelberger as the heavy drinking family-in-law Betto and Bojan Knezevic as Buoso’s assertive cousin Simone.

Aesthetically, three free-flowing split-level spaces and an entry point defined by interlocking platforms make up Jean Francois Revon’s beautifully focused set design. A background screen features a panoramic view of Florence in its architectural glory and Sean Russell’s lighting mixes the ambience thoughtfully. Loran Watkins’ costumes add the period’s finishing touches convincingly and none of it goes to waste on an ensemble who act with enormous heart and sing excellently throughout. In the pit, Gianni Schicchi was honoured with a reading full of verve under music director Alexander Katsman with his 24 musicians primed expertly in the pit. A Florentine Tragedy, first of the works presented, was captured with the requisite drama despite some patches of timing issues at the Sunday performance.

Livermore, a young city with a population of just under 100,000, is a pretty fortunate place, having both a well-established opera company that can put on a great show and a quality venue to present it in. And it’s conveniently connected to San Francisco so there’s no excuse for Bay Area opera samplers not head on out there and see two very nicely paired pieces.


A Florentine Tragedy and Gianni Schicchi
Livermore Valley Opera
Bankhead Theater
Until 15th March 2020


Production Photos: Barbara Mallon