Ferruccio Furlanetto is God, or something damn close to it

If there is a scene that is the heart and soul of Don Carlo, or Don Carlos, as OperaAustralia insist on calling it, it is that big scene for Filippo at the start of the third act. First of all he pours out his heart lamenting the fact that he is married to someone who has never loved him, who he should never have married. Then, he is joined by the Grand Inquisitor, who proceeds to tell him what he should do, and threatens the king, showing clearly that despite his temporal power, he is only there at the mercy of the church, and possibly also because he is easier to control than who might follow. It is also the big showpiece for the bass playing the king, being the time when he gets to allow himself to be the man, rather than the monarch and husband. In the right hands it can be a riveting piece of singing acting that shows the man behind the crown. In the wrong hands, it becomes a piece of indulgence that holds up the story.

Needless to say, in this production we had the master of this role, singing as if he has lived this life, slipping into the troubled King's shoes as comfortably as we might our favourite pair of slippers. And what a treat, to see and hear the definitive Filippo of our time, live in the flesh! When his opening notes of the monologue, which he effectively sings into his hand that is supporting his head, and which are still clarion clear at the back of the theatre, you know why this man has the reputation he does. That he can do that, and make us care for this tyrant who we already know is responsible for the death of thousands, such is the power of his performance. Oh, and the power of Verdi's masterful writing too, of course.

And yes, having Ferruccio Furlanetto sing this role was the reason I had decided that this would be a must see performance, even before I knew we had Latonia Moore in the role of his wife Elisabetta de Valois. As probably the current Aida of choice for opera companies everywhere, her performance in the theatre here a few years ago remains something I will not forget. If this was not quite that potent a performance, I do think that it is one that she will grow into, with a few more outings, till it is the equal of her Aida. So, think not incredible, but merely very good. This is a queen being torn apart by duty vs emotion, who fell in love on first sighting the young man who later becomes her stepson. Yes, I know, only in opera! To be sure, that glorious voice with its beautiful creamy high notes is still glorious, and the ability to put into a look so much feeling that it carries to the back of the theatre was there. But I still think that she has more to give in this role, I do not think she has plumbed its depths yet and lived with it long enough to build the strength of characterisation that makes her Aida so devastatingly good.

Then we had the Rodrigo of Jose Carbo, a role I know he has long wanted to play, and clearly relishing the opportunity he has been given. Hearing someone you used to sing with a significant number of years ago living up to their potential is always a thrill. When they are singing in such exalted company and showing they belong there too, it is a magical thing. Needless to say, he lives the role, and he is singing better and better each time I hear him, pouring out the sounds in a way that clearly shows he knows the role backwards and lives the meaning of all of it. His death scene was especially well sung.

I mentioned before the Grand Inquisitor (played by Daniel Sumegi) who has that delicious snarling duel of a scene with the king. I did not mention that he was played and sung beautifully. He clearly plays someone who is used to getting his every demand met, who has grown old and yet remains still very much the feared arm of punishment that the church uses to bend others to its will. The somewhat harsh sound that he produced was just right for the elderly but still in control priest.

I also have to say, for a small chorus, we get a lot of sound out of them. The start of the auto da fe scene may have been a bit quiet where I sat, but by the time the chorus were all on stage and not at the back, the sound was impressive. It is a scene that never quite makes sense to me, but Elijah Moshinsky has tried to make it work. To modern sensibilities, being excited over people going to their deaths will always be a big ask. But, he tries, and succeeds in making us see some at least in the crowd are excited.

I will say however, that the casting of Diego Torre as Don Carlo was not something I was overly pleased with. To be sure, he has the ability to sing all the notes, and sing them in a way that ensures he can be heard by all. The problem is, I am not sure it is a voice I want to hear. In the first half, he came across as having a harsh overtone somehow, or maybe it was an awkward resonance the theatre was picking up. I want to say he has the voice of a tenor villain, but I can't think of any tenor villain that needs to be that loud, apart from maybe Grimes. Either his voice improved in the second half, or I got used to it, but he still remained someone who could only sing loud or louder, which was grating against the nuanced performances of the other singers. He also did not convince me that he was still madly in love with his mother in law, which while a stretch for anyone, is essential for his character to be believable.

Also in the less than successful department was our Princess Eboli, Milijana Nikolic. Constantly drowned out in ensembles and at times seeming to run out of breath in her two big arias in awkward places. Last time I heard her in Verdi (as Azucena) I was impressed at how well she took on the role and sang it. This time, I was constantly thinking she was trying to sing a role that is much too big for her. It was quite odd. Of course, having to sing alongside some very big voices would not have helped, but it was a surprising let down given her Azucena was most impressive.

Now, having said all that, I have to say, who in their right mind when setting up the bows puts the unsatisfactory tenor in the title role in as the last to bow in a cast, when you have  two big names in opera in leads? Well, apparently our national opera company do. I could not believe they did not put Furlanetto on last, as quite frankly, he was what made this a special night. He deserved it, both for being the big name star in the company, as well as being far and away the best performer in the cast.

The great last minute soprano strikes again

So, second opera in two days, and I am very glad I got them the right way around. Because frankly, Rigoletto, as good as it was, would have seemed very dull after Otello. Not only was the production far and away better thought through (well, it was Harry Kupfer who staged it so, yeah) the singers were all amazing, and in roles that showed them off. It is also, to be frank, more satisfying musically. There are times when Rigoletto seems trite, and the orchestral writing frankly pedestrian. There is nothing pedestrian about Otello. This is Verdi at his most potent. An opera written towards the end of his life, that he spent years on, unlike some of his earlier operas rushed out in six months, utilising all his melodic and dramatic skills to present the essence of this Shakespearean tale of jealousy, deliberate lies and murder.

So, aided by much better conducting in the hands of Christian Badea, the score came alive in the telling. He drew strong, unified performances from the orchestra and the cast, even if the thunder and lightning sound effects of the opening were overdone. The rest was a model of clarity and focus.

As Otello, the Wagnerian Simon O’Neill certainly sang brilliantly, and was a fearless stage presence. Possibly not the voice you would expect for Otello, being a much brighter, higher tone than usual, he none the less was a powerful figure striding the stage, and never came close to showing signs of strain, despite the length and demands of the role. He also showed few signs of effort from negotiating the tall set (basically a huge set of stairs, that were angled off kilter), I know I would have been worn out just from travelling his route over the stage, let alone expecting me to sing!

As Iago, in many ways the heart of this piece, we had the (new to me) Italian baritone Claudio Sgura singing a role he clearly relished. A tall physically intimidating presence, he suits a big villain role. In this production, I was surprised his size was not used more to advantage, but, then again, he was not the original Iago in this production. However, he is definitely a singer I want to hear more of. A big bright sound, with plenty of snarl and malevolence to suit all those big bad villain roles.

As Cassio, we had James Egglestone, singing brilliantly. Considering the last time I heard him I was underwhelmed, I was very pleased to hear him singing well and producing such a large sound. It suggests that he was cast in the role before he was ready for it, in the last production I saw him in.

The other Australian who really impressed was Pelham Andrews as the Lodovico, the Venetian who arrives to announce the replacement for Otello. A big bass voice that sounds positively cavernous, it was positively luxury casting in such a small role. Yet, he is young, and this is exactly the sort of role he needs, as he grows as a performer, big enough to develop a character, while not pushing him into the roles he will be singing in ten years as his voice hits maturity. I look forward to watching him develop in the future.

But, ultimately, for so many reasons, this production was about the Desdemona. After all, this was the production that the (name withheld deliberately) Georgian soprano was pushed out of, owing to the outcry about her past statements regarding a gay pride event. And, to be fair, if she had sung in this performance, I would not have been there, simply because I would have saved my money for other events.

Instead, in a huge coup for Sydney audiences, we had the Armenian soprano Lianna Haroutounian, a singer I had heard amazing things of previously, from friends in London, and seen on film. I can safely say, the descriptions were not exaggerated. She brought a big beautiful voice to the role, and a sympathetic stage presence. There was no hard or harsh sounds to be heard and lots of very beautiful ones. In this role, she totally lived up to the hype, and made us care for her fate. Her final scene with her big solo aria, was the equal of many big name sopranos we know only from recordings, and this was live, taking place in front of us. And it was good, and intense. It made me care for her future, despite knowing she was doomed. It was exactly the sort of thing we go to operas to hear. And you cannot ask for more than that.

Can we talk about Tatyana instead?

So, Eugene Onegin, that glorious lush Russian opera full of dance music and angst and love and death. It also starred a great cast singing beautifully and acting up a storm...

And yet, I was not happy. Mainly because the production of Kaspar Holten worked against the story, adding extra elements that worked against the story, to create the idea that the story was all about the memories we carry, not that it was just the sad tale of young lovers who make bad choices, then live to regret them.

It is also fair to say, that when he planned the production for the Royal Opera (it is a co production with Covent Garden and Teatro Reggio, Turino), that he expected much older leads, which could make the young lovers/old lovers thing work, but when you have a singer in the (old) role who is probably the same age as the young dancer doubling her, it becomes both confusing and distracting. "Is that Young Tatyana, or is it Old? Oh, she is singing, its the Old one." is the sort of thing that would go through the heads of the audience, assuming of course they had read the information beforehand, and knew this was happening, and did not just think there was a mute sister who danced (at one point I was asked "Is she meant to be miscarrying?", which would make for a very different Letter Scene!!!)

Also, it took a while, but eventually, I got the point of why everything got left on stage and never cleared, the books, the letters, the tree, the snow, dead Lensky, the broken chair, etc. It was to highlight that these people are carrying their history with them, as surely as if it was packed in a backpack and permanently attached to their backs. Well, we get that, it is constantly reinforced in the story and in the music; that the awkward mistakes that these characters make and must live with, are what has caused the traumatic ending for them. Doomed to love each other, but unable to do anything about it, because of the decisions they made in the past, that lead to this point.

But, we do not need to have that drummed into us, it is there in the story and the words, and the music, for all to see. Leaving all these reminders is just awkward, and does not help the story. Having Tatyana come close to falling on dead Lenksy is not going to make things believable, nor is she catching her dress on the branch left behind, as she tries to turn and walk angrily away from Onegin while inside her palace!

So, yes, there was lots about this performance that I did not like.  And most of those related to the work of Kaspar Holten, whose work I have seen before on DVD and found awkward. On the other hand, there was also much to admire. There were no weak performers in the cast, and lots to admire. I have to say, most of that flowed from the high musical standards, held together with precision and fire by Guillaume Tournaire. This is the second time I have attended OperaAustralia this year, and the second time I have found myself in awe of their musical standard.

First of all, if this is not the role that marks Nicole Car as a star, then, I would be curious what would. She inhabits this role as if born to it. Her sweet lyrical voice rose to the occasion beautifully, never feeling underpowered, and sounding every bit the dreamy, yet innocent girl who she portrayed. Considering her age, I was surprised to hear she was cast in this, but having heard her, I could not imagine another local singer come even close to her in this role.

As her would be suitor Onegin, we had the Slovak Baritone Dalibor Jenis in his first season here. He sounds strong and powerful, but I found his soft notes a bit off. An off night? Problems with Russian? I can't say, but it affected the way I viewed his performance. I thought he seemed to be portraying Onegin as a heartless bully and very abrupt, until I realised, it was actually his voice I was reacting to, not his acting. Once I realised that, I could see a much more nuanced performance, just one with a vocal challenge.

As Tatyana's sister, we had Sian Pendry, released from the realms of pants roles, and freed to play a very girly girl, one not yet ready to settle down with the ardent Lensky, and more than eager to flirt back with Onegin, setting up the duel that is in many ways the centre of the piece. Her early scenes with Tatyana showed beautifully matched voices, setting the tone for the opera well.

As Lensky, James Egglestone was ardent and hot headed as we expect. His argument with Onegin at the party was quite physical, and believable. His voice is a bit darker than expected in this role, and his Kuda kuda, was beautifully sung, but not quite the meltingly lovely tone that we hope for in this role. The fact that he then got killed at the front of the stage and remained there till the end of the opera, deserves special praise for being dead so effectively, though why it was thought needed is another question.

Also worthy of mention were the glorious cameo arias of both Kaneen Breen as Triquet (hilarious) and Konstantin Gorny as Prince Gremin, bringing a cultured authority to his part, though why he had to appear briefly to witness the big scene between Onegin and Tatyana was beyond me. It was not needed, and just drew focus away from the fine anguished and passionate performances we were riveted by.

So, to sum up, this is not an Onegin to go see if you do not know the story. This is also not a production to see if you get annoyed by directors who play with stories to suit their pet ideas. I admit, I left both annoyed by what I had seen, yet blown over by the performances.

However, it is a production to go hear if you love this music. That was very well served by all, and has been haunting me for days since. I can think of no better praise for a performer, than that they served the music as well as this cast.

2013 highlights and low lights

To start this summary of what I saw this year, I have to start with the statement, that I did not see all I wanted to see, not even locally. I mostly chose to see things that I felt I had to see, not things I wanted to see, given the chance. Thus, no Ballo at Opera Australia, and no Melbourne Ring either, since, it had initially been declared sold out. When I heard there was tickets available, it was too late for me to organise to go.

But, I also got to see some unexpected treats, in part due to some generous friends. Both the Carmen on the Harbour and the Verdi Requiem I saw via free tickets, and both I enjoyed immensely, even if they were not my peak highlights.

But, having said that, my first highlight of the year came in April, courtesy of a Met in HD production. I think it is fair to say that pretty much anyone that went to that Parsifal came away moved/stunned/shocked/wowed. What it was like live I can only imagine (I got lots of reports of "amazing" from people who went), but it burst forth on screen with an intensity often missed. I suspect the DVD of this production, will quickly become regarded as the one to judge others by. Both impressive musically and visually, it allowed the story to be told true to text, while modernising it in a way that made it more meaningful, not less. It was both traditional and modern, an exercise in direction that many opera directors would do well to watch and learn from, in my opinion.

The next highlight was finally hearing Bryn Terfel in concert. Not because he was in fine vocal form, or because he is one of the best singers around. But, rather, because he is that rare thing, the consummate showman in classical music. His performing will always be interesting, no matter how he is sounding, simply because he comes across as generous friend who wants you to like his singing, and who is a nice guy. I found his voice definitely showing wear and tear that night, but his performance was still entertaining and frankly, compelling. As I said at the time, maybe not the voice I wanted on recordings of the repertoire, but as a live experience, hard to beat.

Then, the next highlight was hearing Stuart Skelton in concert with the Philharmonia proving what an amazing singer he is. Seriously, I fail to understand why he is not better known, this is a singer who you need to go hear, any time you have the chance. And why his Lohengrin (or his Parsifal, for that matter) are not available on video, is one of the modern mysteries of opera (or at least, the recording industry)

I also got the chance to hear Eric Owens sing The Flying Dutchman, in a concert with the Sydney Symphony, and Orla Boylan and Ain Anger. Let's just say that they are all singers who if you do not know, you should. All singing roles that suit them, in concert with the forces that this opera begs for. If you have not heard a big chorus sing this, you have not heard it! This was far and away my highlight for concert of the year.

I have two choices for the best staged live opera I saw. I can't quite decide which was better. Both were well performed, in clever stagings that brought the stories to life. Both used minimal sets, focussing more on the performers to bring things to life. The stunning production of La forza del destino by Opera Australia was a dramatic and a vocal triumph for them. With a great cast, all singing amazingly, in  a production with no weak link (except the overlong music, Verdi really needed to cut some things out) This was a production where you really did feel their anguish and despair at what has happened.

But, I also can't go past the Sydney Chamber Opera production of Owen Wingrave, where on the smell of an oily rag, they produced riveting theatre that was more real than anything I have seen on stage. The cast were all impressive, but the stunning performance of Morgan Pearse in the title role was one of the best performances I have seen in person on stage. Even in an opera I had never heard before, which, to be honest, is not the easiest music to like on first listen, he held the audience in the palm of his hand the whole time, and his death at the end produced audible gasps of horror in the audience. You cannot get more vivid performances than that!


Sydney Chamber Opera - Owen Wingrave from Hospital Hill on Vimeo.

Viva Verdi (RIP)

So, that Verdi Requiem, hey? Having been sung at loudly and gorgeously by four soloists and a massed chorus, as well as orchestra, for over an hour, everything does tend to become a bit numb. Gorgeousness blends into gorgeousness, counterbalanced with the fierceness of the fiery sections, as Verdi demands his full forces let rip in an orchestral orgy of horror at the day of judgement. And yet, so much beauty interspersed.

With the combined forces of the Sydney Symphony and the Sydney Philharmonia Choirs and the Tasmanian Symphony Orchestra Chorus, led by David Robertson, it was always going to be a big sound. Adding in three superb singers and you are pretty much bludgeoned into a delicious pulp. This is a good thing.

So, yes, I now can add Erin Wall to my list of Extraordinary Must See Singers. Beautiful, pure, lyric soprano, the sort that makes you go "how is she still singing that, that loudly and sounding pretty, not harsh?" Yes, she is one of those singers. Was it wrong I kept thinking through her singing of things I would love to hear her sing? Pamina and Countess both sit high in my list of things she would be amazing in. That heart breakingly beautiful sound would just leave you haunted in such roles.

So, needless to say she sang well. High notes wafted "up there somewhere" and the ability to go from the quietest pianissimo to her loud fortes without that sense of switching gears that you get with some singers. And such a beautiful sound from top to bottom.

Her mezzo companion was Olesya Petrova, bringing a big creamy sound, well matched to her soprano compatriot. The only time I found myself at all disappointed with her was in the Angus Dei section, when she and Erin sang in octaves. Next to Erin's higher notes, Olesya sounded slightly harsh. Not that she was, just that Erin was singing even more beautifully. It was weird, because the rest of the time, they sounded gorgeous together.  Something about those octaves though, left me thinking why is this not as gorgeous as it should be. Truly odd.

The other superb member of the quartet was Ain Anger, with a fierce bass sound. This is a man clearly used to singing bass villains, and doing it well. Sometimes, I heard a villainous snarl during some of his solo lines and thought, wrong piece for that flourish big guy, but otherwise he was fabulous. A big resonant bass voice who could boom fiercely through the Confutatis section. That it took over from the Ingemisco of John Daszak did seem a little unfair. For both.

To be honest, I was expecting better things from John Daszak. Now, maybe he was having an off night, or the Latin text is something he finds challenging, but I was definitely underwhelmed. Throughout, his voice sounded dryer, less resonant, and basically, tired. Maybe he was. He had sung the night before too (as had the others). But, having said that, all the notes were there, and when he was singing with the others, he blended in beautifully, the sections with him and the bass and the mezzo were just beautiful. I am just very glad the Ingemisco was not at the start, as he had improved by the time he got to that, but it was still not that gorgeous sound we were hoping for.

As for the choruses (for we had two in this), well, lots of sound, and no obvious wrong notes or bad entries. The only criticism I had, was that I would have liked more clarity of diction, but with that many singers, and a big choral concert from them next weekend as well, I can well understand why. That precision requires lots of drilling, and with two big concerts back to back, it does become a challenge to get both up to that standard.

Which of course, leaves David Robertson. For the most part, I liked what he did with his forces. There were a couple of interesting touches to how he shaped sections, noticeably at the end of the Dies Irae sections, where he worked to get an almost bouncy, juddering effect, which worked. My only criticism, would be I would like a touch more savagery and more of a turning on a dime feel to my Verdi. This was sometimes too pretty, when Verdi really comes to life with savagery. But, considering the forces, I suspect he went more for unity, rather than fierce precision.

So, on the whole, a truly fabulous concert. Not perfect but, very very good!

Erin singing a different Verdi, in case you do not know her voice.

And, now that the boffins have done their thing, the entire concert is available for viewing online...

Click here (needs silverlight)

Go see LA Forza!!!

Any opera called "the Force of Destiny" (or La Forza del Destino, in the original Italian) has to ask big questions, or at least attempt to, to avoid being laughed at. Its debateable whether Verdi does ask such question, but he does certainly fill his pot boiler of an opera with characters who seem to be doomed to spend their lives unhappily, their destiny set from before the opera starts, it would seem.

Tama Matheson has directed a very dark retelling of this tale. He has opted to focus on the story and its themes, and tell that, rather than try to update it to some other time, trusting in the source, rather than feeling the need to change the story to fit his ideas. Thus, the stage is filled with characters in period appropriate costumes.

And yet, the set itself, tended to be non naturalistic. Props that were needed were always available, and era appropriate, but the stage itself was mostly left blank, with a series of platforms and staircases wheeled in out and around, as needed, with curtains and a large revolve, used to change spaces as needed. At various times, other pieces were added and removed as required. A large skull often featured, with a giant statue of the Madonna, an altar, massed candles, and a crucifix, all appearing at times to add to the atmosphere of religious fervour, and oppression.

This production does take a few small liberties with the story though. Preziosilla, ably sung and acted by Rinat Shaham, became, not just a fortune telling gypsy, but an embodiment of Fate itself. She lurks menacingly whenever any scenes ripe for death or "significant plot event" happen. As characters die, she has kissed them immediately before, becoming the hand of fate that brings death. At times, the women of the chorus join her in this role. In the battle scenes, the women, hidden behind death masks, wander amongst the soldiers, touching them, which results in them dying.

So, about the performers. First, let me say, this is probably the best cast opera I have seen live in Sydney. There were no weak links. With five leads all at a very high standard, this is no mean feat!

First, of course, our Leonora, played by Svetla Vassileva, bringing a slight figure and huge voice to the role. Hers is a big, beautiful voice, used to good effect in this role. A few times her loud notes became a bit squally and wayward, but mostly she sang with gorgeous tone and portrayed the initial nervousness and then anguish of her character well. Singing much of her final aria Pace pace mio Dio lying on the floor, her torment at what had become of her life was almost too painful to watch.

As her fiance Don Alvaro, Riccardo Massi brought a strong tenor voice to the role. He was convincing as the impulsive foreigner in love with Leonora and whose plan to elope was destroyed by the intrusion and then death of her father, (well sung by Richard Anderson)

A welcome return to the OA stage was by Jonathan Summers as Don Carlo. Hearing the veteran sing with the strength that puts most younger baritones to shame, reminds us of a time when he was a regular singer here. His determination to get vengeance and repair the honour caused by the loss of his father was palpable, as was his brokenness from his loss.

And I mentioned Rinat Shaham before, so all I need to say is, how good is it to have a singer who can sing from the back of the stage, on a raised platform and still have her heard at the back of the theatre, over the chorus in front of her? Very good! Though why every director chooses to go nuts with at least one of Preziosilla's scenes, I have no idea. This time, her "Rataplan" results in all the chorus dying as she sings. Not the effect that Verdi was aiming at!

The lead that gets the least time though, who also impressed me the most was Giacomo Prestia. Big beautiful sounds poured out of him effortlessly, every time he opened his mouth. Can we have him back soon to sing King Phillip in Don Carlo? Please?

To give you an idea how big his voice is. His Melitone, Warwick Fyfe, who sang Falstaff earlier this year at OperaAustralia, seemed small voiced when singing next to him. Not that this was bad, Melitone is a smaller role after all (and Warwick filled it well) but the difference in voice size between them was noticeable.

It has to be said, there were lots of clever touches throughout this opera, things that showed the director and designers had thought long and hard how to create a strong sense of the atmosphere and story. These occurred throughout the opera. For example, in the opening, Leonora starts in a big elaborate wide dress and wig, which during her first big aria, she is helped out of by servants, as if her rebellion requires her to first be freed of the shackles society has put on her. She later spends the rest of the performance in plainer costumes, indicating that she has left her past behind her, even as her past will not leave her. At the end of Act2, as she puts on the monk habit before beginning as a hermit, the monk assisting her removes the hood from his head, revealing to us that, in her mind, she sees her dead father, and because almost paralysed with fear.

Andrea Licata was the conductor, keeping the forces well controlled. Personally, I prefer a little more forcefulness in my Verdi, but, the ensemble was tight and controlled, working with the singers to comment on the action.

So, my advice? If you like Verdi, go. You won't see a cast like this locally again in a hurry.

Sydney Philharmonia Triple Threat concert (or Stuart Skelton lovefest)

So, another Stuart Skelton concert. Another chance to glory at the singing of this man. Seriously, I am in awe. The clarity and beauty of his pianissimo high notes, that should not be legal on a dramatic voice. Seriously, those sounds, they belong in a lyric tenor, not a heldentenor. Yet, he stands there, singing beautiful soft floated notes that reach the back of the concert hall, that then swell into a huge sound that can be heard despite the full orchestra blaring. That is the sign of seriously good technique, coupled with a unique gift.

And yes, that is what we got. A lot of amazing singing. From the opening with the dawn interlude from Peter Grimes and the chorus that followed it, we got to sample Peter Grimes extensively. I admit, my Grimes knowledge is not extensive, I have yet to see a production in the flesh, and the production my memories of it derive from was in the 90's. But, gosh, so much beautiful filmic music. I mean that in the best way. The score is full of beautiful scene painting, and we got to hear some lovely excerpts from the score, with carefully programmed selections that flowed together to create a sense of the whole piece, while only playing a small fraction of the music. Of course, we got Stuart's glorious singing of "Now the Great Bear and Pleiades" which is about a thousand times better than the video attached here suggests. And Embroidery, sung by Cheryl Barker, who, as others have suggested, based on this outing, should do Ellen on stage. But we also got lots of chorus music, sung by the Sydney Philharmonia Festival Chorus, who while well drilled, sadly have about half the men they need. So, while they sounded glorious, there were times when the lack of male voices was painfully obvious.

But, more than anything, the chunks of Peter Grimes reminded me that I really made a mistake in not seeing the last Opera Australia Peter Grimes, a mistake I will not make again, if Stuart is singing it. It was a powerful demonstration why, to many people, he owns this role.

After Grimes, we had selections from Otello, starting with that gloriously unexpected choral opening that really does create the fear of watching a storm at sea. This was one of the moments that I cringed at the lack of male voices, but once it had passed, I went back to glorying in the joy of hearing a large choir sing these glorious choral scenes that Verdi used to advance his story so well. We also got to hear Stuart singing some of Otello's music, along with Cheryl as his Desdemona. Hearing them in a staged production would be a treat for any opera lover, even if making the big blond bear into a moor, could pose a challenge for the makeup department (not to mention, awkward in so many PC ways) Would it be too much to hope for? Sadly, I suspect yes.

So, after interval, it was all Wagner, all the way. With the assistant conductor Anthony Pasquill taking the baton for the Lohengrin excerpts, we had the prelude and bridal chorus from Act 3 with In fernam Land following. After hearing that, all I can say is, if you get the chance, go see Stuart sing Lohengrin. Seriously, there is no one out there who can sing it like that. Its like that aria was made for his voice. (The fact that I cannot find video of him singing it to demonstrate is highly annoying) The clarity of his pianissimo and the beauty of them, not to mention the ability to swell from them to full voice, its truly astonishing. And I say that, as someone who prefers deep voices to tenors. No one sounds like this. No one.

Then we had Tannhåuser, with a chorus and Dich, teure Halle from Cheryl, which to my ears sounded a bit overwrought somehow. It left me longing for someone with a young fresh sounding voice singing it (for example Jennifer Behnke, go look her up on soundcloud if you have no idea) but, it was still interesting to hear someone not known for Wagner, singing it.

Then we had selections from my favourite opera to end, Meistersinger. Some choruses and the prize song from the final act. Again, I now want to find Stuart singing Walther von Stolzing, just so I can go hear him in a staged production. That chunk was enough, to tell me I could sit through any abominable eurotrash production, if he was singing it.

So there you go. Some truly glorious singing, a couple of awkward repertoire choices aside for the forces involved, but a fabulous concert none the less. Go hear Stuart if he is near you, there really is no one else who can do what he does, anywhere near as well…

Bryn: in recital

So, Bryn Terfel, row F, so close you can see him spit as he sings, but not close enough to need an umbrella. And yes, he is every bit the amazing performer we know and love, up close as well.

Having said that, I admit, I suspect that if say, 3 years ago, I had been to a similar concert I would have been much more impressed, than last night. The years of working on heavier rep are showing on his voice, and now and then his voice showed that. But, when you have been working at the peak of the opera world, as Bryn has, for more than 20 years, basically from when you first started professionally, you do tend to expect a few signs of wear and tear. A few shouty notes that were flung, not placed, and a tendency for some of his louder pieces to come across as forced, not controlled, were the signs I was seeing.

But, having said that, we came to hear Bryn, the man, the humour, and his music, and we got that in a generous serving. He introduced the thought behind his programming in a brief chat before he sang. His first teacher at the Guildhall School of Music introduced him to the glories of English song (and especially through the poetry of John Masefield) so, we started with those. Songs that evoke the experiences of someone who moved around, exploring the UK, writing down reflections of what was seen. The second half was devoted to German lieder, based on the experience with his second teacher, Rudolph Piernay.

Throughout the evening, Bryn's diction was exemplary. Most of the time every word could be heard clearly, a feat that many singers struggle with. A reflection of the focus on German repertoire for much of his career perhaps? Or just a determination to get it right? Either way, it was impressive and pleasing. (And a lesson to young singers. If a large Wagnerian voice can be clear, so can you)

He also was very clear with the songs he sang to make them very much his own. Stretch a note here, emphasise something there just a little differently, to make a point. Always, it related to the words, or the music, always justifiable, even if not necessarily what we might call "good taste" But, he always had a reason for doing so, these were his interpretations, his performances, and if you did not like it, quite frankly, well you were at the wrong concert. His performances may not be the ones I would necessarily want on CD, but as live performances, they were compelling.

After the songs based on Masefield poems, we had a group of Roger Quilter songs. When I hear Roger Quilter, I often realise I know so little of his music and should learn more. Again, that happened here. A couple of beautiful songs, then a break for interval.

After interval we were firmly into German Lieder territory, starting off with a rip roaring Der Beiden Grenadiere, which, while full of enthusiasm, brought home how much Bryn's voice has changed. This is not the thing of beauty that won the lieder prize at the Cardiff Singer of the World contest, but rather, a matured voice showing signs of wear and tear, albeit one being used by a consumate showman of a singer. He was hear to entertain, and that he delivered in spades.

So, after that disappointment, to hear him sing such beautiful pianissimi in the quieter songs (including the one above) was a revelation. Frankly, the choices of Litany for the Feast of All Souls and to Sing on the Water were a demonstration that, while the voice may not be what it was, the artistry and technique behind it is still phenomenal. I think it is also the first time I have heard to Sing on the Water sung successfully by a large male voice, as opposed to a high light soprano.

He also had a lot of fun with the Trout, leaving me in no doubt, Bryn likes to fish. It was another case of Bryn as showman, rather than Bryn as fine musician, even though, to get there he had to be the latter, as well as the former.

He finished with a few "traditional Celtic songs" - Danny Boy, Passing By, All through the night and Loch Lommond, the last two getting audience involvement. How many of you can say you have sung with Bryn? (I can now)

And then for the (in a performance like this, mandatory) encores, we had "the Big Brown Bear" (which seems to be a common encore for him) and finally the entry into Valhalla from Das Rheingold, with amazing playing by Sharolyn Kimmorley. It wasn't the huge orchestration of Wagner, but she was able to create the sense of immensity that the orchestra creates at that point of the score, immensity, inevitability and finality. The fact she was was able to do that, after playing the mostly much more lyrical and flexible accompaniments of the songs, speaks volumes to how much an integral part of the concert she was. It also says something to me, that when he sang that small chunk of Wagner, he seemed to be singing what felt right. However enjoyable the evening had been, he is now, and is indelibly stamped, with the Wagnerian Baritone label, which is not a bad thing. Many of us remember thinking at the time he first burst onto the international opera scene with his Cardiff win, and his performance at the Saltzburg Festival as Joachanaan, that this is where he would be, given time. How right we were.

So, as much as I would have liked to have sat and listened to him sing an evening of his big signiature roles with orchestra, hearing him sing songs with piano accompaniment was a reminder of just how versatile he really is. And a very potent reminder of just how significant a performer he has been throughout his career. A great talent, with a charming presence, and a genuine pleasure in performing for others. Would that all were like that.

 

Bryn in 1989 (Cardiff Singer of the World contest)

4 fantastic singers? 5 pretty good ones

So Il Trovatore, that opera where we have to believe that a mother threw the wrong baby in the fire, and then raised her enemy's son to destroy his biological brother. Well, yes, it is an opera, so there is always a certain amount of disbelief required, but, that's opera for you.

First of all, I have to say, this was a surprisingly even cast. There were no stand out bad performers the whole night. That also means of course, there were no stunningly good ones either (like Monserrat Caballe at the top) . Instead, we had a night of well sung, well acted, if not always thrilling opera.

This production was the Elke Neidhardt production that is shared between the various state opera companies here. It resets the opera to the Spanish Civil war, but never really tells you which side who is on. All you know (indeed, all you really need to know) is that Di Luna and Manrico are on opposite sides.) The sets consist of a series of grey walls that get rearranged from time to time. They all show signs of war damage, and get moved to indicate changes of location for each scene. They worked very effectively, especially coupled with the very effective moody lighting.

There were no obvious "regietheatre moments" that made you scream "what the?" but a mostly sensibly directed opera, that focused on telling the story clearly. Ok, so maybe the moment of gratuitous total male nudity with the arrival of the new recruits was not necessary, but it did lighten up the scene (and the supers were very pretty)

Now, to the performers, because, as is mythologised, this opera stands or falls on the four leads (I would argue five, but hey, who says singers can count?)

First off, when you get a notice on your seat that a singer has been swapped for health reasons, you normally sigh a little. Well, when I heard the Ruiz was swapped (admittedly a small role) I was quite pleased. My previous experience of the singer in question left me wondering why he had been cast. Instead, we had Sam Roberts-Smith, who I hope we hear a lot more of. As Ruiz, he sang only a little, but left us wanting to hear more, and liking what we heard. Why the other singer was cast in the first place still leaves me scratching my head, knowing his replacement was available at the time...

Now, frankly, Daria Masiero is no Monserrat Caballe (or for that matter, Angela Meade, or Latonia Moore) but she is a fine singer with a big voluptuous voice of the type needed. To be sure, I would prefer one both larger, prettier and better controlled, but we are talking dream casting vs affordable casting. For a company that cannot afford the A list singers, Daria is pretty good. No fluffed notes, nice even sound and plenty of power to bring to those exciting climaxes Verdi gives. To be sure, she does not sound as in control of her voice as Latonia Moore (or Angela Meade, who I have only heard via recordings) but there was nothing wrong with what she did. We are talking degrees, more the difference between something I consider acceptable, to something truly glorious. She was workmanlike would be my comment.

Likewise, Arnold Rawls. As the evening progressed, his voice definitely eased into the role, sounding less tight. Sometimes he sounded  not entirely comfortable in the role in the first act. But by the second act he was sounding truly heroic, his C on "Di quell piera" was something to behold, if a touch OTT for the purists. I say, if you have it like that, use it!!!!

The surprise of the evening for me was Michael Honeyman as the Count di Luna. This was the fourth time i have heard him recently, so you can understand why I was shocked when I heard him. I have always liked his voice, but I long to hear the voice that he has yet to become, instead of the smaller sound we have been getting. Well, somewhere between last year and this production, he has found that big sound. WOW! Suddenly, its like he had a big break through in vocal technique and the sound is much fuller, richer and just plain bigger. Im really looking forward to hearing what happens in the future now.

Our bass for the evening was of course, the reliable Richard Anderson as Ferrando. Quite why the captain of the guards became a priest in this production, I am not sure, but it did not detract too much from the story. Indeed, it only occurred to me later that he is not normally a priest. Too many Italian operas have priests that do everything they shouldn't I guess..

And finally, we had Milijana Nikolic as Azucena, the mother who threw her son on the fire by mistake, intending to throw the Count's brother. Previously, I have not been that impressed by her. This time I was convinced. Her Strida la vampa and the scene following with Manrico were stunning. In many respects that scene became the emotional centre of the opera in this performance.

And of course, as usual, the chorus sang well, swapping frequently from being soldiers to freedom fighters and back again.Im sure there was lots of men changing back stage in the wings…

So I will leave you with our tenor. Not perfect, but pretty damn good, and certainly worth paying for.

Happy families, not...

Ok, so Salome and her crazy family. I just saw them today. And, yes, they are all nuts. Mum clearly does not like her husband, and is jealous of her daughter, but also clearly taught her well. Daughter uses her beauty to get her step dad to do what she wants. Clearly she has learnt to twist men around her finger, but not anything about right or wrong.

Which really gets to the heart of the matter. Salome is both femme fatale and yet naive innocent. She knows how to get What she wants, but she clearly has no moral compass. She meets someone with a powerful one, but fails to convince him to succumb to her charms. And from there it all goes pear shaped.

The decision was made to show the feast that is repeatedly referred to throughout the opera. They are at the back of the stage, raised up but also hidden behind a curtain of clear plastic strips, letting us know they are there, but seeming them not noticing what happens outside. "Outside" is a circular platform with a huge metal grate in it. There are a series of about 7 curved stairs down to the floor level of the stage. Most of the action takes place on the round platform, or the stairs in front of them. The grate of course, is raised up to allow access to Jokanaan, when needed. Costumes are best described as regie-light. Yes, none of them match the period this opera is set in, but they all are appropriate for the person wearing them. Herod looks like a overweight pimp in a shiny yellow suit. Salome and Herodias have out there trashy look at me look at me dresses, with head gear to match (and OTT hairstyles often too) . The religious guests at the feast are all dressed in the costume appropriate to whatever type of priest they are representing. (They are not all Jews here) And Narraboth and the soldiers are a mix of army camoflage pants, with upper body armour that looks like it came from some scifi movie. As I said, regie light costuming.

So. You begin to get a sense of what it looked like, what did it sound like? Well, to be honest, mostly very good. No one stood out as bad, most were very well cast, some were astonishingly good. I heard no bad singing, and a lot of amazing singing. I also saw a lot of powerful acting in what ultimately is a how not to guide to family values.

None of the minor characters stood out as bad, most surprised with how good they sounded. The fact that Kanen Breen was relegated to mere First Jew, gives you an idea, that luxury casting was applied. David Corcoran was seriously good as the doomed Narraboth. His death early on, both shocked and upset (as it should) when he realised that Salome in person, was not the beautiful ideal he had in his mind, but a twisted soul trapped within a beautiful facade.

Salome herself, performed by Cheryl Barker, was a monster, in the best way. Her performance was gripping, moving and also believable. She portrayed Salome as both victim and as active participant who causes things to happen. Yes, I still think Salome needs a bigger voice, but Cheryl makes a strong case for not needing a dramatic soprano in this role. To be sure, there are times when her voice struggles to deal with the combination of heavy orchestra and the vocal writing, but she rises above it to deliver a towering final scene that had us believing. And moved. And it has to be said, she does have something of the girlishness about her voice still, that this role should have, but few do.

As her mother, Jacqui Dark was suitably demented. She adds to her list of demented monster roles, a Herodias who you seriously do not want to meet in the street. There was nothing subtle about the performance, but then, Herodias was not written to be subtle. Her stentorian tones blasted across all others in the take no prisoners style we expect. You almost do not blame Herod for looking at his stepdaughter, when his wife has become such a vile harridan of a creature.

And Herod? Well, John Pickering was amazing (and creepy). This is the first time I have encountered him in the flesh, and, well, I hope to again. Im thinking he would make an excellent Mime or Loge. Here he makes light work of an incredibly wordy part, flinging off huge amounts of dialogue through the music, while remaining totally musical and in character. He was far and away the best performer, in my opinion, in a very strong cast.

As our Jokanaan, we had the ever reliable John Wegner, portraying yet another tortured soul. This one though, is physically tortured, while his soul is elsewhere. I was perhaps less convinced by him acting as the otherworldly prophet, but there was no complaints about his sound. I felt that using speakers for him when in the cistern, was probably unnecessary, but I also recognise that with the stage at the Opera House, putting him in the pit to sing his "in cistern" lines, would not give him much time to get to up to where he needed to be when he emerged into the light. It was probably unnecessary, but it also worked. It gave his prophetic pronouncements more power, making him more the person to be afraid of, even when imprisoned. At times I did wonder if I needed to see more otherworldliness from him, but then, he did seem comparatively sane, in a world going mad around him.

Now, about the Dance. That fraught thing about Salome, is most singers who are believable in the famous Dance of the 7 veils, are not likely to be capable to sing the role. Rather than have Cheryl do some sort of big long dance number shedding clothing, our director opted to have each of the seven veils represent a different female character, an archetype of men's fantasies of women if you will. It works, probably better as a concept than in reality, but if you know it in advance, it certainly made sense. And it was a lot more believable than her doing a solo dance for the almost 10 mins of the dance, shedding clothes as she goes….

So, to sum up, on a scale of 10? I would give this production, as seen today a 9. Not quite as amazing as Lucia, but still awesomely sung, and brilliantly theatrical. And yes, moving. Though, to be honest, I have no idea why I cared about such vile people. That I think says all you need to know.







Here is something of the infamous dance:

And ABC TV's news report:

Not the best Butterfly

I find it rather telling, that most of my complaints I had with this production of Madama Butterfly can be laid at the feet of who ever cast it. Not all, but with a more appropriate cast, most of my complaints would not have happened.

To start with, if I said that the only two people who were cast correctly on voice type were Goro and Sharpless, you might begin to get an idea of why I was disappointed. When your character tenor is louder in the opening scene than your romantic lead, you have a problem. Early on, I was wondering if it would have been better to reverse the casting. Of course, with the veteran Graeme McFarlane, that might have changed the way we think about Pinkerton, but it still gives you an idea.

Quite frankly, as I said to people afterwards, who would expect me to be more moved by Lucia than Butterfly? That an opera I never go to unless I know the cast will lift a boring night into a thrilling one was more moving than an opera that should leave one either a blubbering mess or annoyed at the injustice of life, or hating men, I think says it all.
  
But why you ask? Well, to start with, I never was convinced Pinkerton was seriously interested in Butterfly. There were 2 main reasons for this. First, you need to be able to sing the music in an ardent manner, with power to burn to convince. It's not a role you give to a Mozartian tenor. To be sure, his is a beautiful voice, used well, but nothing could make up for the serious lack of power. If he had been swapped with the Edgardo we say in Lucia, both operas would have been improved, I suspect. He also did not look captivated by her. Maybe his acting did not carry to the back of the theatre, but I never felt the passion. I did not feel they were about to rip each other's clothes off after the big duet between Butterfly and Pinkerton. Considering the passionate nature of the music, and the fact we are talking their wedding night, that says damp squib more than anything else.

Our Butterfly was Japanese, and to be honest, that always gives me concerns. I have yet to hear a Japanese soprano whose voice has the power to sing Butterfly well. I'm not saying they do not exist, but Hiromi Omura did not convince me they do. Again, a beautiful voice, but not a voice with the sort of emotional power you need as Butterfly. Pretty voiced, and mostly successful in a production designed around one of Australia's more charismatic singers, but just not nearly big enough, or able to hold our interest. We need to remember, Butterfly is an Italian opera character with a Japanese veneer, not a Japanese character with an Italian veneer, which is more what we got.

Instead, we got a singer who sounded like she should have been singing Pamina, probably with a small Mozartian orchestra, not singing a big Puccini role. Yes, she produced a beautiful sound with good legato, with a sweet tone from top to bottom. But, this role needs a beautiful voice with the power to thrill, where she sounds triumphant in her climactic notes in Un bel di. Here, we did not get that. Rather we had pretty singing from a voice that was hopelessly miscast.

Suzuki you say? Well, Domenica Matthews as Suzuki was what I expected. That is to say, competent, a credible performance, but if the cast had the voices required for the role, she would have been miscast. With a small voiced Butterfly, it did not matter, but then, a big voiced Suzuki would have been wrong in this cast also…
  
The rest of the cast? None of them stood out as bad or particularly good. They were competent, as you expect, although, the Yamadori of Malcolm Ede was almost inaudible at times.

Now having said that, this is a stunningly pretty production. The set is a series of Japanese paper screen style walls that are raised and lowered as appropriate to reveal other people or scenery outside. There is a wooden platform in the centre which is surrounded by a shallow moat.  Besides the usual named characters and the chorus (who only appear on stage during the wedding at the start) there are 5 mute performers who are dressed like lepers (it is the obvious description when you see them), or, I guess, Butoh performers. They spend much of the opera on stage stationary,  or carrying things on stage for the performers. They are never acknowledged as existing, even as characters take props from them.

The costumes are all typically Japanese appearing, though I could not comment on how authentic they are. Most of the costumes in the opening were in shades of red. They always spoke volumes about the characters, with Butterfly changing to darker sombre colours as the performance progressed.  

So, to sum up. This was a deeply disappointing Madama Butterfly, with performers who should not have been cast in the roles they were. All I can do is leave you with a reminder of how good this production can be, with Cheryl Barker as Butterfly, and Jay Hunter Morris as her Pinkerton. If only I had seen that, not last night's cast!

And, a late edit to bring you this:

This is how you do Butterfly! Full blooded, with intense passion!!!

(And yes, the video is crap, but what a voice!)

So, last night, I saw Aida again....

Leontyne Price shows us how it is done (O Patria Mia)

 And Ritorno vincitor from the same night, (her last night at The Met)


First of all, for those that do not know, Jacqueline Mabardi is no Latonia Moore (or Leontyne Price). This was no surprise to me. However, I was relieved at her not being anywhere near as bad as I was led to believe. Not as big a voice as Moore (obviously) she still sang the role credibly, with that mix of control and abandon that we need to hear. However, my criticism would be that her voice lacks the clean focus that Moore (and for that matter Leontyne Price) has. This is a voice which seems too much core, not enough focus. Which makes me worry about the long term use of it, as well as explains (when I think about it) why the floated high notes near the end were not soft and floating, but hit with too much power.

Against Mabardi, Rosario La Spina and Milijana Nikolic came across as much stronger than previously. At the start, I suspected La Spina was having troubles, as he seemed a bit hesitant in the recit before Celeste Aida, but the aria itself was fine. However, I do think as the evening went on, I could hear him off the peak of the previous performance. Possibly a cold? Or hay fever? Either way, he still sang with power and ease throughout his range. And yes, his voice is not the prettiest tenor, but the power and security of his line of sound, means that quite frankly, I don't care. We need singers who can do the job, and he does it well. Nikolic sang better than I remember, but again, possibly a comparison situation?

Having said that, I can say that Warwick Fyfe and David Parkin were definitely an improvement on Michael Honeyman and Paul Whelan. Both much bigger voices, though I still feel both seem too small in these roles. But, they were more secure and larger voices than before, and were both convincing in their roles.


Now, having said all that, I also have to say, we need some new good Verdi conductors in the pit. Our conductor Andrea Licata seemed unable to get the fire of Verdi in the belly of our orchestra, at times they seemed rather tepid. If you cannot bring the fire and passion to Aida, you do not deserve to be conducting it. Also, there were a couple of times where things started to get a little bit out of synch between the stage and pit. Not train wreck badly, but I spotted it, so it was noticeable.

As for the production, once again, while I love the many clever touches of this production, I again was wishing at times people would just stand still and sing! That the director was a dancer is very obvious. Yes, the dances were witty and fun, but we do not need a chorus to move around on the stage in the temple scene, its meant to be static.

Oh, and some of you know that we took an opera virgin to this production. He loved it, and was moved by it in a good way. In some ways I think that is the best compliment we can give. Someone who did not know the story before, got the story, and felt for the characters. Its not rocket science folks, it should just work!


Previous performance review here

The Scottish Opera

Well, I finally got to see "The Scottish Opera" yesterday - you know, the one based on a play by Shakespeare that you are not allowed to say the name of, lest some of the witches' curse comes to haunt you. Live at the Sydney Opera House, with an impressive cast of singers that could do justice to Verdi's music.

And what a show it is! Sometimes, it really does take seeing a staged performance to really love and understand the music of an opera. That definitely applies here. Some of the things that may seem weak in the music on CD, really come to life when you understand what is happening, and can see it played out on stage. But ultimately, it demonstrates yet again, just what a master Verdi is at writing music to for dramatic purposes. No one wrote for chorus quite like he did, though ask me how he makes it work every time, and I scratch my head, it just does. And of course, the tunes!!! He instinctively had an ear for the tuneful, but was not afraid to write ugly music when the story called for it, its just his ugly makes many other composers seem like crows next to his nightingale.

So, what was today's performance (the last) like you say? Well, funny you should ask that…

Personally, I found a lot to love, and a little to dislike.

I am going to start with the dislike first. With a caveat. I rarely ever like Peter Coleman-Wright as a singer. There is something about his voice that irritates me. I think it is something weird he is doing technically, that I can't work out, but he never sounds vocally "all there" to me. It is as if he is swallowing his vowels or something, it just never sounds as forward and as ringy as it should, especially if you are sitting towards the back of the theatre. This day, I have to say, he was worse than normal vocally. Now, don't get me wrong, as a performer, he is quite absorbing to watch, but I would never buy a CD of his, and normally would avoid going to something he is in, but this was a production I have been eagerly awaiting, so he was not stopping me.

So, as Macbeth he was the consummate performer, tearing up the scenery as required, as the ambitious scheming Macbeth whose grip on reality begins to slip as the story progresses. The scene where he sees the ghost of Banquo demonstrates just what a powerful actor he is, with a performance that would not be out of place in a performance of the play.

As his wife, Elizabeth Whitehouse was the rock that the production revolved around. Her magnificent voice shone throughout the performance, tossing off Verdi's difficult music, if not with ease, certainly with confidence and flair, showing while she may be known more for Germanic roles, she certainly can sing Verdi Spinto/dramatic roles well. This is a singer in command of a big voice, who knows how to use it to great effect. Frequently while listening to her voice, I realised I would love to hear her sing Abigaille from Nabucco, as the vocal demands seem similar when you listen to them. Having said that, early in the opera, I was worried listening to some of her high notes. They sounded wayward, not in pitch, but tonally, as if she was struggling to get them out, not singing with the ease and clarity of her lower and middle range. Thankfully this cleared up as the opera continued, which makes me suspect she was feeling less than 100% at the start, or was not warmed up fully.

But of course, any Lady Macbeth stands or falls on her Sleepwalking scene, that mad scene for dramatic voices. Verdi himself was more concerned about believability than beautiful tones in his original Lady Macbeth, and you can sort of see why, she really is not a nice character, but a manipulative, amoral cold blooded killer, who thinks nothing of goading Macbeth into other murders.While I would never call Elizabeth's voice harsh, or ugly, there were definitely times when she sounded ugly and harsh, making her beautiful voice serve the drama, demonstrating the ugliness at the heart of Lady Macbeth.

As Banquo, Daniel Sumegi was mostly what you expected. Solid voice (seemed to be less full and rich than I remembered in the lower register, but that could just have been the day) with a big dark sound that carried well. He portrayed the solid friend who becomes progressively fearful of his friend as well as he is able in the limited time he had before he succumbed to Macbeth's murderous behaviour.

The big surprise for me was Rosario La Spina as Macduff. It is not a big role, but wow, that is a real tenor!!! When someone in a small role gets such a huge applause, you know either the rest of the cast are hopeless (which they were not!!) or that the small role was ideal for the performer and they really shone. In his aria just before the sleepwalking scene, La Spina showed how to sing Verdi's passionate, heart on sleeve music, and the audience went nuts with applause. As they should.

Everyone else sang well, but few stood out, except maybe Richard Anderson, wasted as the Doctor, as indeed, he is so often, with his powerful voice reduced to being a commentator as Lady Macbeth did her sleepwalking routine. I was also very impressed with the chorus, I have not heard them sounding so good in a long time.

Now, having said all that, I do have to take my hat off to the lighting designer. Etienne Boucher (restudied for the Sydney Opera House stage by Nigel Levings) worked wonders with lighting. He made us forget that we were dealing with a unitary set, and instead see different places, be it the witches scenes, the castle, or the forest. The lighting took the scene and made you see different things. Even after the forest scene, when there was snow falling on the rebels, I was thinking how were they going to clean it up, without closing the curtain before the next scene. With the change of lighting from outside, into the nighttime castle scene for the sleepwalking, the lighting changed such that the "snow" disappeared altogether. He both picked up mood changes and environmental factors, weaving them into a cohesive whole, in a way few lighting directors seem to be able to.

As to the production generally, while I do not like as a rule unitary sets, this one was made to work. As I said, this had a lot to do with the lighting, but also by the range of places on the set, that were all utilised at different times, in different ways.

On the other hand, the costumes were less successful. I started out annoyed at the twentieth century dress styles and lack of kilts (the men all started in great coats that looked more Germanic than anything), by the end I was not really concerned about how the various people were dressed. I assumed that there was some message intended by the modern dress, but it was not clear to me. Personally, I just thought of it as someone attempting to keep something accessible by making the costumes seem like what you might see in the streets today, but at some points the clothing looked definitely early twentieth century not current, which does tend to defeat the purpose…

But ultimately, this was a fairly traditional production of a standard opera, albeit one we rarely see in Australia. It was mostly beautifully sung, and only one person sounded out of place or miscast. Many sounded like luxury casting. And really, in the end, opera is about the singing, to my mind. And in this performance, I knew I had got my money's worth, and then some, with moments of pure magic. Can we really ask for more?