Don't let the fact that Mustafà is the villain in a comedic opera fool you into thinking the part is a walk in the park.
Gioacchino Rossini wrote Mustafà in "The Italian Girl in Algiers" as one taxing role for the bass or bass-baritone who sings it. Mustafà is not only on stage for most of the opera, his part is also often physical, he has to nail a high D and he must be threatening and funny at the same time. And that's just for starters.
Simone Alberghini, who is making his Seattle Opera debut as Mustafà, the Bey of Algiers, in the company's upcoming production of "The Italian Girl in Algiers," is well aware of the challenges built into his part. Alberghini points out that properly developing the character of Mustafà is critical.
"The character cannot be just an ugly character, or we can't understand why Elvira, his wife, still wants him," Alberghini said.
Mustafà's behavior toward Elvira, his chief wife, is less than admirable. He has just discarded her, insisting that she be married off to his Italian slave, Lindoro, because he finds Elvira and the rest of his harem ho-hum. Then he proceeds to woo Isabella, the Italian Girl, in front of Elvira. Mustafà is an overbearing, macho posturer who does some pretty mean things, so, Alberghini postulates, he'd better be charming.
"I am thinking he's a lot like Gaston in 'Beauty and the Beast,' the Disney movie," Alberghini said. "I am thinking he is liking himself a little too much, which is why it's so easy in the Pappataci scene to manipulate him."
Alberghini said the music offers its own mountains to climb. "Rossini is usually challenging vocally because of the long phrases and agility required to show feeling, to show emotions. The vocal range in Rossini is very large with a lot of high notes."
The music also frequently changes styles in a heartbeat.
"The introduction to the audience of Mustafà begins with me singing heroic coloratura immediately followed by 'patter' - very fast singing typical of Rossini's opera buffo," Alberghini said.
Then there's the impact of his role's physicality on his singing. When Alberghini initially takes the stage, he will be jump roping and "doing a lot of macho posing, like he's in training," which can make it difficult to do the diaphragmatic breathing necessary for operatic singing. Plus, all of that movement is going to intensify the sweat factor.
"It's hot under the lights, and with the movement and costumes, which are never very light, and Mustafà's turban, I'll be drinking a lot of Gatorade," Alberghini said with a grin.
Although Alberghini's repertoire includes the works of Mozart, Donizetti, Verdi and Meyerbeer, the Italian from Bologna, Italy, has a particular affinity for Rossini. He is a regular guest at the Rossini Festival in Pesaro, the city where Rossini was born, and has sung the role of Dandini in Rossini's "La Cenerentola" at the Glyndebourne Festival and the Washington Opera. Alberghini, who is moving to Pesaro in December, sees Mustafà as an autobiographical character.
"Rossini wrote a whole lot of himself into Mustafà. He enjoys living life - he likes food, women and having fun."
Freelance writer Maggie Larrick lives in the Seattle area and is the former editor of the News.
'The Italian Girl in Algiers'
Seattle Opera
Marion Oliver McCaw Hall, 321 Mercer St.
Saturday, Oct. 14 through Saturday, Oct. 28.
Tickets: $41-$135. Tickets/information:
389-7676, 292-ARTS, www.seattleopera.org
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