11/6/2009 12:30:29 PM

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By Jay Furst

Post-Bulletin, Rochester MN 

The revival of Dominick Argento's "Casanova's Homecoming," which opens at the Ordway Center in St. Paul on Nov. 14, is a homecoming of sorts for the composer as well.

	If you go What:"Casanova's Homecoming," by the Minnesota Opera When: Opens Nov. 14, with performances through Nov. 22 Where: Ordway Center, St. Paul Information: (612) 333-6669

Argento, the Minnesota composer who last week turned 82, wrote the piece for the opening of the Ordway in 1985. There's a funny story to be told about that, but Argento can take some satisfaction in the fact that his comic opera will find life again on the Ordway stage, nearly a quarter-century after its premiere.

It's also a homecoming for Argento in that nearly 50 years ago, he was a founder of the Twin Cities opera company that eventually became the Minnesota Opera.

Based on a few choice episodes from the notorious Italian's lover's memoirs, "Casanova" is one of the few American operas of its generation that may find a place in the enduring repertoire. This new production features a large cast led by Canadian baritone John Fanning as Casanova and soprano Jennifer Casey Cabot as Giulietta.

Argento wrote the piece, including the English language libretto, to open the Ordway in January 1985, but as he describes it, "Somebody else sneaked in before me." That would be Lars Johan Werle, whose "Animalen" had its world premiere at the opening of the theater. It was panned by critics; the New York Times called it "exceedingly trivial."

"First of all, I was very miffed" at the change in schedule, Argento says. When "Casanova" had its premiere in April of that year, "it was a real success with the critics and the audience," whereas "Animalen""was just the exact opposite of a big hit."

Still, his greatest satisfaction on an opening night was when his opera, "Miss Havisham's Fire," which was regarded as his "biggest flop" at its premiere in 1979, was revived in 2001 by Opera Theater St. Louis. An hour was trimmed from its running time and it was "a smash hit -- the New York Times was eating its words."

"That was more gratifying to me than writing a new opera that was well-received," he says.

Just as meaningful for the composer was that a former student, James Robinson, directed that revival in St. Louis. "James was a composition student with me as well as a teaching assistant," Argento says. "I flunked him out of composition, so I like to take some credit" for his accomplishments as an important director.

Not coincidentally, Robinson also directs this revival of "Casanova." Argento, who says he hasn't seen the show for several years and as of late last week hadn't attended rehearsals, has "complete trust" in Robinson.

"I was looking through the score (recently) to see if I had followed any shortcuts" in the composition, he says. "What crossed my mind was, I don't remember writing that thing. I was sitting there and admiring it but as if it was the work of a stranger. I felt that it worked pretty well."

What pleases him most is "the vocality of it -- how well it fits the singers." When he met the cast for the first time, "what they commented on was how well everything laid in the voice, how well-suited it is for their particular voices."

At his age, Argento says he doesn't have any more operas up his sleeve. He wrote a major choral-orchestral piece, "Evensong: Of Love and Angels," in memory of his late wife, the singer Carolyn Bailey, for the 100th anniversary of the National Cathedral in Washington, D.C., last year. "I don't have the stamina" to pour into another opera, he says, and he's not taking any more commissions.

"Now I write music when I feel like writing something," he says. Currently, he's "fooling around" with cabaret songs.

He's not tempted to fiddle around "Casanova," however. "I'm afraid I might screw it up."

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