Brimming with rapturous Puccini-esque music and sung by a wonderfully well-matched cast of five, Lyric Opera of Melbourne’s hand-polished production of long lost Melbourne opera Stella is a gem.

When a piece of theatre has been neglected for 100 years since its premiere there is usually a good (or, should I say, bad) reason. Based on the beautiful score and affecting story, Stella has been unjustly neglected. A substantial debt of gratitude is owed to savvy saviour Pat Miller, artistic director of lyric Opera of Melbourne, for resurrecting the piece and restoring it to musical glory.

Arriving from London in 1891, composer and conductor G.W.L. Marshall-Hall made significant contribution to music in Melbourne, serving as Professor of Music at University of Melbourne before going on to establish Melba Conservatorium in 1900. A controversial and outspoken figure, Marshall-Hall is believed to have based the themes of his libretto for Stella on his own exclusion and judgment by members of conservative Melbourne society.

In a bayside Melbourne town in 1909, Dr Kirke’s new nurse Stella is recognised by Mayor Chamley as the woman he had an affair with, and subsequently abandoned, ten years earlier. Rev. Weldon also recognises Stella, and is set to tell Mrs Chase about her, unaware of Stella’s connection to the Mayor. Despite a loving proposal of marriage from Dr Kirke, Stella‘s anguish drives her to make the tragic decision to take her own life.

Soprano Lee Abrahmsen’s achievement in the title role is remarkable, in that she not only clearly establishes a character that is unfamiliar to the entire audience, but also endears the character to us, leading to a moving finale to the brisk one-act opera. Presented as an angelic blonde vision, Stella’s compassion, anguish and vulnerability engage our sympathy and affection in Abrahmsen’s capable hands. In addition, Abrahmsen sings the role splendidly, her golden soprano ringing out with ravishing beauty. Abrahmsen displays sumptuous tone across her full range, with her high notes being of especial quality. 

Maestro Miller’s meticulous work with the 16 assembled musicians allows them to be heard as a cohesive orchestra, bringing out layers of shimmering colour in Marshall-Hall’s score. Having personally reassembled the orchestral parts for this season, Miller’s knowledge of the music is comprehensive, allowing a performance of such confidence that the piece comes across as a natural, highly accessible fit for an opera season.

Sung in English without surtitles, diction is clear and precise, although the lack of a pit means that the instrumental music occasionally threatens to overpower the singers. A highlight of the score is the stunning quintet, as each character reflects on their position in the story and on the beauty of nature.

There are the odd melodramatic moments in the libretto of Stella, but director Jessica Harris has her cast commit to the truth and emotion of the story, playing the scenes in a straight, naturalistic manner. As the mystery of Stella’s past unfurls, storytelling is clear and involving. Harris navigates the limited space effectively, and deftly facilitates the singers’ connection with the audience by having them almost always face front.

Mattea Davis provides an attractive scenic design, placing a diagonal verandah in front of a beautifully painted bayside view backdrop. In his lighting design, Rob Sowinski makes expert use of this backdrop in portraying differing times of the day. Sam Fisher’s costumes are as supportive of the storytelling as they are visually attractive.

Robert Barbaro displays an exciting tenor voice as Dr Kirke. Barbaro displays a gently relaxed vocal technique as he transitions to high notes with ease. As a young artist, Barbaro’s confidence with acting is still developing, but his earnest passion and singing strength are most impressive.

At first appearance, Matt Thomas seems a little young to be a man with a murky past, but the talented performer plays the role of Mayor Chamley with serious intensity, conveying the undercurrent of tension in the man’s quest for self-preservation. Thomas’ unwavering bass voice has a well-focused intensity and purity. 

Caroline Vercoe gives another warm, engaging performance as Mrs Chase, a well-to-do woman suffering with the helplessness of having a sick child. Along with her finely honed acting talent, Vercoe’s fluid, expressive mezzo-soprano is a distinct asset to the musical quality on show. 

Shoumendu Ganguly conveys the professional piety of Rev. Weldon, making it clear his judgment of Stella comes from the church he represents, not from personal malice. In fine voice, Ganguly’s baritone is a pleasure to hear. 

Future presentations in Lyric’s Australian Opera series are keenly anticipated. Opera lovers of Melbourne should not miss Stella.

Stella plays at David Williamson Theatre, Prahran until 30 September 2015.

Photos: Kris Washusen

Demonstrating yet again their absolute commitment to both new works and young singers, Victorian Opera presents the world premiere of the delightful new opera The Grumpiest Boy in the World.

So enjoyable are the music, design and performances that, if there is one complaint about this wondrous piece, it is that it is just too tantalizingly short. The 45-minute running time flies by in a whirl of melody and creative invention. The design elements alone could support a production three times the length.

The theatrical equivalent to reading a very satisfying children’s book, The Grumpiest Boy in the World has a three-act structure and an allegorical story for a straightforward life lesson. Living in his beige, middle-class home, nine-year-old Zachary Briddling is frustrated at his sheer normalcy. His muffin-baking mum and Age-reading dad display his crayon drawings on the fridge, and that is about as far as his kingdom stretches.

Indulging in flights of fantasy, Zachary travels to a world of unusual creatures only to find more normalcy and acceptance. Winning a Grump-off in Grumptown, Zachary finally has a smile on his face when he realises he is the grumpiest boy in the world.

Zachary’s smile is not the only ironic element of Grumptown, as composer Joseph Twist blesses the scene with most attractive and harmonious music of the opera. The entire score is, in fact, wonderfully accessible, being more of the pleasantly melodious variety than the abstract soundscape variety that often plagues modern opera.

Twist’s music sounds particularly good thanks to calm, confident conducting from Simon Bruckard, who is a Developing Artist with the company. On several occasions on opening night, young singers looked to Bruckard for their cues and found themselves in very secure hands. Bruckard leads nine talented players from Orchestra Victoria, with Lara Wilson on percussion adding welcome colour to the more fanciful sequences in the score.

Based on his successful play, Finegan Kruckemeyer has fashioned an economic libretto that engages the audience through the familiarity of the first scene then has them on board for Zachary’s fanciful adventure’s beyond his safe suburban home. While the opening scene is well explored, the subsequent fantasy scenes really could do with some more fleshing out, as there is scope for more arias, duets and musical scenes involving the various creatures and characters that pop up on Zachary’s journey.

Zachary carries the brunt of the singing, and, fortunately, young performer Jacob Lawrence is more than up to the task (Alastair Cooper-Galec alternates in the role.) Possessing a smooth, clear voice of the baritone register, Lawrence gives a centred, serious performance as Zachary, conveying the inner turmoil of the boy through his eyes. On stage and singing for the entire show, Lawrence proves a capable, unflustered performer whose unshowy style brings the audience towards him.

In a similar vein, director Cameron Menzies keeps all of the action animated but well clear of over-the-top childishness. Menzies can fill or empty the stage in seconds, as the large, well-rehearsed chorus come and go with yet vagaries of Zachary’s imagination. The story is told in clear, broad strokes that easily accommodate young audience members while still respecting the intelligence of adults.

On par with the excellent music and libretto, Chloe Greaves’ designs are a wonder to behold. It is a sign of the importance that the company places of this type of work that the design is so fully realised. A space usually configured without a proscenium arch, the Merlyn Theatre is set up here to have full black wings and tab, allowing magical entrances and scenic dissolves. As giant white translucent cloths glide by, representing the pages on which Zachary draws his imaginative world, Greaves provides a giant, a chorus of tiny munchkins, a pair of colourful birds, two-headed monkeys on wheels and much more. 

The integration of design into the action illustrates the level of collaboration that has clearly occurred between Greaves and Menzies. Joe Mercurio’s lighting design enhances Greaves’ work, also adding special effects to aid the story telling.

Special mention goes to Rhian Tuohy’s lovely singing and character work as Dot (above). Lizzie Barrow also makes an impact as a colourful Bird who gives a cheeky Violetta-like run of ornamental cadenzas, showing herself as a potential diva-in-the-making.

The large (30+) chorus is extremely well prepared, singing with uniform sweetness of tone and clarity of diction. Their energy and focus are likewise evenly matched, and the multitude of scene changes completed by the cast run like clockwork.

The Grumpiest Boy in the World is family entertainment of the highest calibre.

The Grumpiest Boy in the World plays at Merlyn Theatre, CUB Malthouse, Melbourne until 4 October 2015

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The Grumpiest Boy in the World program can be read online

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2015 reviews of Victorian Opera productions:

Teddy Tahu Rhodes and Antoinette Halloran in Sweeney Todd

Jessica Pratt in I Puritani

Oskar Hillebrandt in The Flying Dutchman

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Victorian Opera has announced their 2016 season

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Photos: Charlie Kinross

Defying classification, The Rabbits blends opera, music theatre, and gentle pop music in a finely crafted theatrical experience.

The result of an incredibly satisfying collaboration between a unique set of artists, this new commission from Melbourne Festival and Perth International Arts Festival is a triumph, and deserves to be seen by a much wider audience.

The scenario unfolds gradually on stage, like turning the pages of a children’s book (the second new opera like this in a week). In an allegory for the colonialisation of Australia, the idyllic existence of the indigenous “marsupials” is exponentially disrupted by the invading “rabbits.”

Based on John Marsden’s book, the sixty-minute opera features a series of developments without the structure of a traditional narrative. At opening, the marsupials idle the day listening to another of Coda’s dreams, this one about a flying lizard. That lizard is soon coldly scooped up and squashed into a test tube by A Scientist rabbit. This proves to be the least invasive act of the rabbits, who are soon planting flags where they please, erecting smoke-spewing chimneys, and crowding out the environment with tall buildings and electric lights.

Celebrated designer Gabriela Tylesova is in her element as she recreates illustrator Shaun Tan’s elaborately detailed pictures on stage. As attractive as it is fascinating, the heightened reality has been fully realised by the Opera Australia Workshop. The beautiful stage pictures are expertly enhanced by lighting designer Trent Suidgeest, who seems to create actual climates on stage.

In the most moving sequence, the dear curly tailed babies that many of the marsupials have been carrying are taken from them and sent away on white box kites. As with all the impositions of the newly arrived rabbits, this moment of affecting drama is presented for our own judgment, rather than explicitly explained and unpacked for us.

Working with a succinct libretto by Lally Katz, adaptor and director John Sheedy treats the audience’s intelligence with respect, intensifying the impact by developing our affection for the marsupials quickly and efficiently. Dressed in body-contorting costumes, elaborate headwear and face paint, it is a credit to the talent of the eleven performers that they are each able to convey such unique and personable characters.

Kate Miller-Heidke has written a rich, eclectic score that surely warrants repeat listenings. Also a member of the cast, Miller-Heidke plays the fluffily coiffured Bird, our guide and host for the evening. Perched high upon a spiralling Pride Rock-type cliff face, Miller-Heidke’s Bird connects the piece to the regular world of opera with a diva-like opening sequence that seems to contain the briefest snatches of the Queen of the Night aria.

The band of five versatile musicians is led by young music director Isaac Hayward, who also plays piano, cello and piano accordion. In a clever touch, the musicians come forward (from the rear onstage band position) to perform as merry musicians accompanying the rabbits’ latest grand developments.

In a move that is more music theatre than opera, the singers are amplified. Still, Michael Waters’ sound design provides a very natural sound to the music.

While it is difficult to select further highlights from the well-matched cast, Hollie Andrews must be mentioned for her adorably wide-eyed portrayal of kindhearted Coda. Andrews’ lovely singing voice is a pleasure to hear. Chameleon-like opera regular Kanen Breen expands his vocal repertoire with a stunning falsetto of such richness that he sounds like a legitimate counter tenor.

Hopefully, an extended season or at the very least a recording are on the way for superb new Australian Opera The Rabbits.

The Rabbits plays a sold out season as part of Melbourne Festival at Playhouse, Arts Centre Melbourne until 13 October 2015.

The Rabbits program can be read online.

Photos: Jon Green (Perth season)

An inspired choice for an opera adaptation, especially in this WWI centenary year, Fly Away Peter is a compelling, haunting reflection on the inescapable horror of war.

In his 1982 novel, a modern classic, David Malouf uses extensive imagery to convey his themes of the transience of life and the inevitable transformative power of war. Stripped back even further on the stage, the opera is almost pure allegory, with no need for traditional linear storytelling.

Freed from the necessary structure of the page, Pierce Wilcox’s libretto enhances the most poetic elements of Malouf’s original text. To demonstrate the symbiotic closeness of the three protagonists, at times they finish each other’s thoughts in clipped, overlapping phrases that make no literal sense yet convey their meaning clearly.

Thrown together as the world tilts towards war, working class battler Jim Saddler (Mitchell Riley) meets privileged scholar Ashley Crowther (Brenton Spiteri) while bird watching on Crowther’s land. Played as a younger woman in the opera, photographer Imogen Harcourt (Jessica Aszodi) shares the men’s love of birds, and the trio is soon caught up in the wonder of the sanctuary. Birdcalls are cleverly played by violin, fluttering clarinet and muted cornet.

Wrenched from this Eden, Jim is shortly embroiled in trench warfare on the Western Front. Ashley takes Jim for a flight in his plane, where Jim sees the land the way birds see it. He wonders what the birds think of this metal monster flying alongside them. In a cleverly economical sequence, Jim meets his comrades, each given a subtly different vocal and physical presence by Spiteri.

In composing this original score, Elliott Gyger successfully heightens the emotional impact of the dramatic action. His birdcalls, as mentioned above, are wonderful, and he makes a strong distinction in sound as the setting moves from the idyll of Queensland to the confronting terror of the trenches. Gyger’s arrangements place all the melody and musical beauty in the voices, a choice that works brilliantly with the three stunning voices in the cast.

Jack Symonds conducts a chamber orchestra of seven talented, flexible musicians. Listening analytically, the score is extremely challenging, yet the thorough musical preparation allows for a relaxed, natural performance. Rarely performed in the Fairfax Studio, opera sounds surprisingly good in the space, the amphitheatre design clearly suiting the style.

Director Imara Savage imbues her young cast with a strong sense character, providing clarity and gravitas to the scenario even when expositional narrative is sparse. For those unfamiliar with the text, a quick read of the précis of the eight scenes in the complimentary program is all that is needed to appreciate the setting. As we hear of the deaths of each of Jim’s comrades, Savage mostly implies the violence of war, using just a single device to convey the unshakeable impact of witnessing such horror. The actors coat themselves in sticky clay-like mud, a visceral, outward sign of the memories that cannot be washed away.

Savage is supported by movement director Lucas Jervies, who creates a physical language for the three characters and their interactions.

Elizabeth Gadsby’s sparse design is incredibly effective in fluidly portraying time and place. A series of white platforms rise, pyramid-like, in the open space. In close alignment with the non-literal playing style, Gadsby’s costumes are neutral, modern daywear. A large collection of blue plastic buckets is used to dig the trenches and, later, to represent the multitude of graves of the fallen.

Having played its premiere season at Sydney’s Carriageworks in May, Verity Hampson has reconfigured her excellent lighting design for Fairfax Studio, Arts Centre Melbourne. Hampson paints the white surfaces with light and shadow, creating depth and texture. Even in an open space without a proscenium arch, Hampson can draw in the focus for an intimate scene. The claustrophobic isolation of Jim’s slow death in the mud is all too clear.

With the lean physique of a wiry youth, Riley conveys a masculine presence tempered with a sensitive, insightful soul. Riley’s expressive baritone voice captures the pain and confusion of Jim’s encounters, his deeper register adding dramatic weight to the character.

Having recently taken up a Young Artist position at National Opéra de Lyon, France, Spiteri returns home briefly for this Melbourne season of Fly Away Peter. With voices so exposed, Gyger’s music is particularly well served by the rich, gorgeous tone Spiteri’s tenor. The highly attractive timbre of Spiteri’s vocals point to the aristocratic nature of the character, as well as highlighting his empathetic side. A strong actor, Spiteri scores the one laugh of the night as a youth whose voice has not quite broken.

Soprano Aszodi once again displays finely tuned musicality and gently understated acting in creating an original role in a modern opera. Always on stage yet not always in the spotlight, Imogen must go on a painful journey along with the men yet without the direct exposure to war. Singing with sweet, aching beauty, Aszodi perfectly captures the balance of maintaining a presence while supporting the central male roles.

Melbourne has blessed with a number of boutique opera productions this year. Gently exhilarating and deeply moving, Fly Away Peter is a must-see for the discerning operagoer.

Fly Away Peter plays at Fairfax Studio, Arts Centre Melbourne until 24 October 2015.

Photos: Used with permission (original Sydney production, May 2015)

Glorious music is a clear highlight of CitiOpera’s new production of La Cenerentola, with a large orchestra and excellent singers bringing Rossini’s sparkling score to life.

There is a revolution of sorts at play on the opera stages of Melbourne. Rather than making do with diminished showings from Opera Australia, smaller companies have more than ably taken up the slack in presenting lovingly staged, generously financed productions. The mark of quality of such productions is that experienced, talented singers are willing to be involved, to practise their art and maintain their exposure. The winners in this arrangement are audiences, who can enjoy affordable, accessible opera productions with first rate singing.

CitiOpera’s fully stage production of La Cenerentola is certainly a fine example of this boutique opera movement. The company has assembled splendid singers, accompanied by a confidently polished orchestra of more than 20 players. All this, with a top ticket price of only $65.

The season is held at the gloriously restored Hawthorn Arts Centre, which features easy parking and plenty of public transport options along with local places to eat and drink before and after the performance. The capacious foyer and ornately detailed auditorium add to the air of quality, making the venue ideal for opera. An orchestra pit is lacking, yet acoustics are fine with the orchestra positioned at the front of the stage.

The standard of quality for the evening’s music is immediately evident with a nimble playing of Rossini’s delectable overture. Exacting conductor Trevor Jones clearly demands the best of his players, whilst also creating an air of enjoyment for all involved. To prepare an almost three hour opera to such an impressive standard without the luxury of professional (read: fully paid) rehearsal times is an extraordinary achievement, and speaks strongly to the nature of the project as a labour of love.

The styling of the production is somewhat at odds with the timeless elegance of the music and the austere splendor of the venue. Director Theresa Borg’s program notes explain the concept as recycled objects being used to tell a recycled story. Beginning with the gaudy minidress-clad stepsisters blearily waking on the morning after the night before, Cinderella’s traditional role as a cleaner is expanded to a chorus of cleaners charged with mopping up after extravagant festivities.

Set in present day, the selfish, self-centred, selfie-taking nature of the stepsisters makes perfect sense, with their boorish father Don Magnifico also a very recognisable character type. Disguised beggar Alidoro is a scruffily bearded drag queen in sparkling silver short shorts, and the Prince and his servant indicate their royalty with Games of Thrones t-shirts.

Costume designer Marc McIntyre makes particularly good use of the recycling theme when Alidoro puts together Cinderella’s gown from discarded plastic with a packing tape belt and mop head wig. The magic happens offstage as she transforms the same look into a more refined costume and wig. Topped with crepe paper floral headwear, the stepsisters’ ball gowns are a hoot, with one sporting a skirt of balloons while the other wears a skirt of rubber gloves.

Daniel Jow’s lighting brings out the festive orange, pink and yellow the balloons and streamers of McIntyre’s scenic design.

The overall aesthetic may not necessarily appeal to purists, but the concept pays ongoing dividends in continually providing amusing moments. Borg makes great use of the space, utilising a perfectly positioned balcony and having the characters come and go from all available doors and aisles.

Presenting the recitative in English is a masterstroke, particularly given the historical precedence for this. Clear surtitles complete the accessibility of the performance.

Kristen Leich delivers lovely singing as the virtuous La Cenerentola, with particularly strong high notes. While her volume is diminished by the position of the orchestra when she is singing on the floor upstage, the majority of her singing is heard clearly and easily.

Henry Choo’s luxurious tenor is a pleasure to hear as Prince Ramiro. His rendition of act two aria “Si, ritrovarla io giuro” is rapturously received.

Baritone Michael Lampard is in particularly fine voice as licentious manservant Dandini.

As the blustering Don Magnifico, Adrian McEniery gives a masterfully balanced performance, in that he maintains precise vocal control while playing a staggering slob.

In a similar vein, Genevieve Dickson as Tisbe and Carolina Biasoli as Clorinda deftly project the nastiness of theirs vain characters while singing with sweetness and purity.

Matthew Thomas successfully sells the character of Alidoro as good-hearted party boy, landing several laughs with his delivery of updated recitative.

Fortunately, the chorus of seven women has a chance to break out of their fluorescent yellow safety vests to play glamorous ball guests. These women provide a lively presence and sing beautifully. Male chorus vocals are provided by two gentlemen situated with the orchestra.

La Cenerentola by CitiOpera plays selected dates at Hawthorn Arts Centre until 6 November 2015.

Photos: supplied by CitiOpera

Victorian Opera’s audience showed great faith in the polish, variety and flair of the company by filling Hamer Hall for an evening where more than half the program consisted of new compositions sung by young singers. That faith was rewarded with a unique and fascinating evening, bringing the eclectic, entertaining 2015 season to a close.

The capacity audience was, of course, due in no small part to the presence of Meow Meow on the bill, but more on the cult cabaret queen in a moment.

In conjunction with the Composer Development Program at the Tasmanian Symphony Orchestra and Symphony Services International, Victorian Opera commissioned a series on new short pieces to be performed as a companion to Kurt Weill and Bertolt Brecht’s classic work Die Sieben Todsünden. Just as Brecht’s heroine Anna encounters the seven deadly sins in seven American cities, the new work paired each of the seven deadly sins with an Australian city. Four composers wrote the seven segments, which were united cohesively by a prologue and epilogue.

Melbourne-based composer Julian Langdon wrote a jaunty male duet about a gluttonous Adelaide food critic trying to part ways with his constant companion Appetite. Langdon also provided the binding bookends to the piece, which successfully linked the pieces both musically and thematically.

Mark Viggiani, also from Melbourne, created an amusing scenario in which a crown prince must choose between three female contestants, representing Hobart, Melbourne and Sydney. Despite Hobart’s envy of the mainland cities, she was the one chosen for her virtues in this contest. Viggiani also supplied a thinly veiled representation of wealthy Perth mining magnate’s anger towards her father and his mistress.

Being based in Sydney has given Ian Whitney plenty of opportunity to observe the types of metrosexual couples portrayed in his reflection on lust. A mini soap opera played out as couples bickered, cooed and swapped partners over brunch. Whitney also represented the sloth of Brisbane, where two layabouts, oblivious to a heavenly angel quoting 17^th century poet John Milton, cannot be bothered be rising to fetch another beer.

Jessica Wells composed an exciting sequence that could well be the opening scene of an exciting dramatic opera. In a chorus scene stylistically reminiscent of “Attend The Tale of Sweeney Todd,” we met John Wren, a divisive Melbourne underworld figure driven by greed. In what was probably the most popular section of the night, Wells revealed the singers’ surprising gifts for mimicry, with a crowd-pleasing look at the proud prime ministers of Canberra.

The seven cast members, graduating members of Victorian Opera’s Masters of Music (Opera Performance) program performed with great confidence, flair and polish. The singers looked quite divine in couture costumes from Linda Britten in glossy Australian blue, red and white.

Cristina Russo was a delight as Milton’s Angel, also scoring significant points with her droll Julia Gillard impression. Michael Petruccelli neatly played the comedy straight as food critic Bob, and also created an intriguing twisted physical characterisation for John Wren.

Emerging baritone Nathan Lay goes from strength to strength vocally of late, and provided several compelling performances throughout this evening. In a comic highlight, Lay clearly conveyed the inner workings and outer platitudes of a Speedo-clad Tony Abbott.

Versatile performers Matthew Tng, Kate Amos, Elizabeth Lewis and Emma Muir-Smith each contributed enjoyable character work and wonderful vocals.

While the Australian Seven Deadly Sins portion was perhaps a fraction too long at 75 minutes, each of the sequences were so well conceived that it was a pleasure to watch them unfold. Director Cameron Menzies maintained a deft lightness of touch, presenting the segments with individual quirks yet overall cohesion. Moments of choreography seemed to be out of the comfort zone of most of the singers, but with such an abundance of talent on display this was of no matter.

Conductor Tahu Matheson presided over a sterling performance from Orchestra Victoria, allowing the new music sound familiar, comfortable and suitably interrelated. The quality of the compositions brought out the very best in the musicians and singers.

After interval, Matheson maintained the musical excellence, with a slick, atmospheric rendition of Weill’s gently infectious score for Die Sieben Todsünden.

Allow me to make a confession at this point: before last night I had not ever seen Meow Meow on stage*. Consider me a devoted fan henceforth.

In a divine marriage of material and performer, the impossibly delectable Ms Meow Meow had the entire audience in the palm of her hand. From the moment of her first entrance, as the tiny figure of Anna struggled to climb up onto the stage, the audience seemed frozen, eyes wide, breath held, as if they dared not miss a second. Somehow, the 2000-seat Hamer Hall auditorium was transformed to an intimate, smoky club of the Weimar Republic.

A concise masterwork, Die Sieben Todsünden is by turns funny, melancholic, insightful and moving. Meow Meow lands all of these emotions and more, singing the German text with breathy wonder. A balletic clown, the petite actress moves from physical comedy to pathos, vulnerability to resilience, sensuality to brawn, sorrow to glee, elegance to ungainly contortion, all in the flick of an eyelash.

Menzies gives Meow Meow the entire downstage as a playground, setting Anna’s conservative family upstage, a living sepia-toned image in a picture frame. Lay and Petruccelli are joined by tenor Carlos E. Barcenas and bass baritone Jeremy Kleeman to create beautiful music as the family. Kleeman provides a nicely surreal touch as Mother with a beard.

One of those you-just-had-to-be-there events, Die Sieben Todsünden was just divine.

The program for Seven Deadly Sins can be read online.

Seven Deadly Sins was performed at Hamer Hall, Arts Centre Melbourne, 7.30pm 6 November 2015.

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2015 reviews of Victorian Opera productions:

Original children’s opera The Grumpiest Boy in the World

Teddy Tahu Rhodes and Antoinette Halloran in Sweeney Todd

Jessica Pratt in I Puritani

Oskar Hillebrandt in The Flying Dutchman

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Victorian Opera has announced their 2016 season.

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*I had seen a certain Melissa Madden Gray as Morgan le Fay in Camelot and as Hedy LaRue in How To Succeed In Business Without Really Trying, both by The Production Company, but that is another story

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Photos: Charlie Kinross

Played straight and true, characterful comedy The Marriage of Figaro is all the funnier. 

Listening to the rapturous music and watching the comic complications crescendo, Sir David McVicar’s authentic production allows the genius of Mozart and librettist da Ponte to be fully appreciated for the pure brilliance of its simplicity and elegance. The second in McVicar’s Mozart-da Ponte trilogy of new productions for Opera Australia, The Marriage of Figaro is gentler than the darkly dramatic Don Giovanni but just as intriguing and affecting.

Da Ponte’s artistic collaborators have created a natural, realistic setting for the 17^th century action. David Finn’s ingenious lighting design has the large scale rooms illuminated by “natural” sources, with sunlight streaming in from off stage right as the balmy summer day progresses. Designer Jenny Tiramani channels this light through large arched windows, presenting a series of pastel coloured, lived-in rooms that grow more spacious across the four acts. A family tree mural on the wall of the act three library is but one example of the clever creative choices on show. The hazy moonlit finale is set on a grand verandah in front of an inky black garden that seems to stretch back forever.

Tiramani’s costume designs include distinct, attractive servant livery in muted tones of cornflower blue. Marcellina and party arrive in forbidding black, and, in a nod to the dappled light, the Count and Countess both wear outfits of lustrous gold.

Maestro Anthony Legge leads Orchestra Victoria in a nimble, delicate performance of the much-loved score, providing strong support of the singers. Recitative, accompanied with flair by Siro Battaglin on fortepiano, is brisk, fresh and easy to follow. A modest-sized ensemble provides appealing choral singing, ably prepared by acting chorus master Thomas Johnson.

Mining da Ponte’s libretto for period and character details, McVicar has enhanced the very well-known opera with a host of insightful touches, presenting the merry court of characters as living, breathing humans. Arriving at Susanna’s door, we see the Count molest a meek maid before moving on to his intended prey. Meeting Cherubino, the Countess is visibly moved by his youthful beauty, and flirts harmlessly while Susanna is out of sight. Having relaxed with Susanna and Cherubino in her room, the Countess recomposes, and steels, herself for the entrance of the Count. In a clear illustration of the boundaries of class, Figaro forgets himself and angrily bangs the table to make a point to the Count, instantly regretting his brash display of emotion.

McVicar’s insight, supported by revival director Andy Morton, ensures an entertaining evening for even the most familiar of operagoers. Additional enjoyment is derived from the camaraderie that emanates from the teamwork of the all-Australian lead cast.

Longtime company member and Mozart specialist Taryn Fiebig shines again in this second Mozart/da Ponte presentation. With a similarly lovely performance in Così fan tutte next year, she may end up walking away with the entire series. Her golden hair up in a simple bun, Fiebig’s Susanna radiates loving warmth and measured cunning. Sung in front of the damask curtain in the glow of the evening’s only spotlight, Fiebig’s rendition of Susanna’s love call “Deh vieni, non tardar” is an intimate love-in between performer and audience.

Further proving herself a significant and, perhaps, underappreciated talent, soprano Jane Ede deftly conveys the vulnerable humanity of the Countess and sings the role with silvery sweetness. Melancholic lament “Dove sono i bei momenti” is a lovely moment, as is the all too brief letter duet with Susanna, “Sull’aria…che soave zeffiretto.”

Shane Lowrencev, another local singer who was excellent in Don Giovanni, uses his imposing height to great advantage as Count Almaviva. Singing the role with comfortable ease, Lowrencev’s chief achievement here is the well-rounded portrayal of the Count’s underlying insecurity. Far from being a dastardly villain, Lowrencev’s Count seeks sexual conquests to assuage his self-doubt and gives in to societal pressure all too easily.

Andrew Jones proves a likeable Figaro, maintaining the character’s nimble juggling of calamities with effortless style.

Highly valued company member Sian Pendry delivers another engaging performance, colouring the middle register of her luscious mezzo-soprano voice with a little extra depth to play virile young pageboy Cherubino. Pendry’s portrayal of the young man is so convincing that when Cherubino is dressed as a female it really appears quite uncomfortable and all the more amusing.

It is a real thrill to welcome delightful mezzo-soprano Roxane Hislop back to the Opera Australia stage. Singing with flexible colour and spirit, Hislop lands all the delicious comedy of Marcellina without a modicum of overacting or heightened characterisation

Bass Adrian Tamburini proves there are no small roles as the outraged gardener. Petite soprano Eva Kong has a knowing sparkle in her eye as Barbarina, her silky soprano in fine form.

This is opera of the highest calibre, and is highly recommended for newcomers and longtime fans alike.

The Marriage of Figaro plays selected dates at State Theatre, Arts Centre Melbourne until 28 November 2015.

Photos: Jeff Busby

As frothily effervescent as a freshly shaken bottle of Coke, this blue chip 2001 production bubbles over with amusing delight.

Simon Phillips’ rural Australian setting is the gift that keeps on giving, providing all the gullible townsfolk and freshly enlisted soldiers the story requires. Directed for all intents and purposes like a merry musical, the simple love story, abundance of chorus work and eminently hummable melodies more than hold up to the treatment, creating an evening of easy enjoyment for music lovers of all backgrounds.

Like a musical, the opera begins with a chorus number, “Bel conforto,” before quickly featuring an I wish song as Nemorino dreams of wooing the fair Adina in “Quanto è bella.” Adina and travelling quack Dr Dulcamara sing charm song “Io son ricco e tu sei bella” at the wedding feast, and Nemorino has an 11 o’clock number in the romantic aria “Una furtive lagrima.”

Among the many deft comic touches, Phillips’ jingoistic surtitles cap off the Australiana theme perfectly, their judicious use keeping well clear of the crass excess of 2014’s The Turk in Italy. And the surtitles are not just there for the audience: when Nemorino cannot understand what Dulcamara is saying though a mouthful of chicken, he runs onto the stage apron for a quick squiz at the surtitles.

Revival direct Matthew Barclay respects Phillips’ gentle original concept, keeping performances neatly restrained so as to successfully deliver the character-based humour.

Michael Scott-Mitchell’s timeless scenic design displays a level of wit rarely seen in scenic design. Constructed entirely from corrugated iron, the setting is a blaze of rich outback colour. Visitors are seen approaching ever closer across the background of rolling hills. Neighing rideable horses, nodding, shearable sheep and mooing, milkable cows complete the pretty pastoral picture.

Gabriela Tylesova displays her renowned artistic brilliance with beautifully painted costumes that stand out from the set and support the countrified concept. Wealthy landowner Adina’s first dress has a lush, verdant design that distinguishes her from the arid motifs on the dresses of the other local women. Her wedding dress features delectable swirls of luscious pink and yellow. Dulcamara sports vivid city colours, and the enlisted men in uniform are theatrically topped with authentic ostrich plumes in their slouch hats.

Nick Schlieper’s lighting design, realised by Wesley Hiscock, brings out the vivid colours of the design, lighting the corrugated sets so as to provide maximum texture.

Matching the gently paced action on stage, maestro Benjamin Northey coaxes a delicate performance of Donizetti’s infectious score from Orchestra Victoria. Lovely featured moments are heard from bassoon and harp in “Una furtiva lagrima.” The production is fortunate indeed to have assistant conductor Brian Castles-Onion on fortepiano.

Acting chorus master Thomas Johnson draws a wonderfully balanced, unified sound from the chorus. Mention must be made of the terrific acting work from the chorus, embracing their roles as Arcadian pastoralists, and they even prove adept at a bit of Heel and Toe Polka.

In a performance that grows more endearing as the evening progresses, Rachelle Durkin’s Adina blossoms from bookish, bristling beauty to loving, generous woman. Her coloratura in agile form, Durkin sings the role with effortless, affecting sweetness, also flexing her redoubtable comic chops to great effect. Having thrilled audiences with her Adina (here and Sydney 2014) and Norina (Sydney 2013 and Melbourne 2014) over the past three years, it is disappointing to note that Durkin is not listed for any appearances in Opera Australia’s 2016 season. Hopefully Durkin’s schedule will provide the chance to enjoy her substantial talents again locally in future seasons.

Although Aldo Di Toro does not embody the traditional “peasant lad” portrayal of Nemorino, his mature appearance adds an extra layer of pathos, creating a Nemorino who has been a wallflower far too long and yearns for his one (last?) chance of happiness. The undisputed vocal highlight of the evening, Di Toro’s soaring rendition of well-known tenor aria “Una furtiva lagrima” burns with unrequited longing.

Treasured bass Conal Coad is in his element as the duplicitous Doctor Dulcamara, his nimble stage presence belying his many years of experience. Bringing an innate dignity to the comedy, Coad is a terrific scene partner with each of his co-stars, and, vocally, his rapid patter never fails to entertain.

In fine voice, baritone Christopher Hillier deftly conveys the arrogant buffoonery of Belcore without overplaying the comedy.

Talented soprano Eva Kong proves there are no small roles as Giannetta, elevating a featured chorus role to a delightful supporting turn.

Presented in repertory with The Marriage of Figaro, Opera Australia has treated Melbourne spring audiences to a pair of delightfully accessible comedies. First-time operagoers are spoilt for choice.

The Elixir of Love plays selected dates at State Theatre, Arts Centre Melbourne until 28 November 2015.

Photos: Jeff Busby

In a welcome and long awaited Australian visit, Romanian soprano Angela Gheorghiu demonstrated her finely honed artistry and the luxurious beauty of her voice along with the verve of her glamorous bella donna appearance.

Known in Australia for her prolific recording career and her appearances in filmed operas screened in cinemas, Gheorghiu presented some of her greatest hits as well as some carefully chosen lesser known pieces in a thoughtfully curated program. Beginning modestly and almost tentatively, Gheorghiu warmed up mightily as the evening progressed to soar through well-known favourites in the second half.

Fellow Romanian Maestro Tiberiu Soare conducted the Australian Opera and Ballet Orchestra, with a very clear highlight being the scintillating “Romanian Rhapsody” by Enescu in the second half. This epic suite highlighted crisp percussion and bold brass and featured many climactic moments.

The orchestra actually began the evening a little slowly, with a somewhat muddy performance of selections from Handel’s Music for the Royal Fireworks. More successful was the “Intermezzo” from Manon Lescaut, in which the tune begins by travelling around the strings before building to a lush, atmospheric sound. Jane Rosenson on harp added an extra layer of quality to this piece.

Gheorghiu made her first appearance in a filmy, strapless flesh coloured gown, with delicate matching shoulder wrap, adorned with a glittering silver brooch at the waist.

Beginning with an aria chosen simply to display the sheer beauty of her voice, Gheorghiu followed the orchestra’s Handel prelude with “Lascia ch’io pianga” from Handel’s Rinaldo. Moving on, Gheorghiu gave a clearer picture of the dramatic ambition of the evening, in which she was to immerse herself in dramatic musical scenes.

When absorbed in a role, such as in Manon’s second act aria, “Adieu notre petite table,” Gheorghiu shows great sensitivity, appearing delicate and vulnerable despite her highly attractive appearance. This quality continued through “Pleurez mes yeux” from Massenet’s El Cid.

An aspect that occasionally interfered with Gheorghiu’s intense performance style was her use of her music on a music stand. The singer broke character, so to speak, to adjust the stand or adjust her wrap, particularly during musical interludes. While glancing at the sheet music interrupted visual engagement with the audience, a string bond nonetheless developed throughout the evening.

The first half concluded with “Song to the Moon” from Rusalka (Dvořák), providing demonstration of Gheorghiu’s strength across an impressively wide vocal range. Projecting a demure countenance, Gheorghiu did not speak during the first half, but certainly showed herself extremely gracious towards the maestro and the orchestral players.

Gheorghiu emerged for the second half in a voluptuous light cherry red gown with red shoes, her glossy black hair freed from the immaculate styling seen initially.

Performing well known pieces, Gheorghiu moved about more freely in the second half, unencumbered by reliance on the music stand. Her exquisite rendition of “Un bel di vedremo” gave a chance to hear her sing an aria from Puccini’s Madama Butterfly, a role she has recorded in full but has not played on stage. The sultry “Habanera” from Carmen (Bizet) gave the singer a chance to cut loose in a playfully seductive manner.

Emerging finally in a backless, figure hugging black dress with dark grey train of ruffles, Gheorghiu performed one of her top signature arias, Tosca’s impassioned prayer “Vissi d’arte” from Tosca (Puccini).

The formal program concluded with one last dramatic aria, “Sola perduta, abbandonata” from act four of Puccini’s Manon Lescaut (Puccini).

Finally addressing the eager audience during the curtain calls, Gheorghiu introduced favourite aria, “O mio babbino caro” from Gianni Schicchi (Puccini). Slowly spreading her hands, Gheorghiu seemed to almost physically draw the gorgeous final pianissimo note from her mouth.

Gheorghiu acknowledged the Romanian fans in the audience, and gave an extraordinary a cappella encore. Gheorghiu then concluded with popular standard “Granada.”

Well under the diva’s spell, the audience applauded rapturously at the evening’s conclusion. Gheorghiu had one last cheeky trick up her sleeve, exiting the stage with concertmaster Jun Yi Ma in hand.

A Special Evening with Angela Gheorghiu was held on 13 October 2015 at Hamer Hall, Arts Centre Melbourne.

Concerts and boutique productions flourished, a modern opera premiere swept its categories in the Helpmann Awards and a host visiting stars graced our stages in the 2015 year of opera.

Having announced his diagnosis with a brain tumour in June, beloved world baritone Dmitri Hvorostovksky made a triumphant return to the Met Opera stage in September. Hvorostovsky’s website now lists a new album, upcoming concerts and an upcoming season of Eugene Onegin at Royal Opera with our own Nicole Car.

Car’s Royal Opera debut in October, as Micaëla in Carmen, brought strong praise (for example here and here). Following this tantalizing sample, Car’s future at Royal Opera, and, it could be argued, her international career as a whole, hinges on this week’s opening of Eugene Onegin, in which she makes her London debut as Tatyana. Australian audiences have no doubt of Car’s ability to mightily impress in the role, having seen her electrifying breakout performance in the role last year, when Royal Opera Director Kasper Holten directed his production of Eugene Onegin in Melbourne and Sydney.

Dynamic Director Holten last week announced his resignation from Royal Opera, and will be moving back to Copenhagen with his family in March 2017. While Holten has attracted the odd drama, such as this year’s controversial staging of Guillaume Tell, his energy and flair have also brought much positive attention. The search is now on for Holten’s successor.

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Opera Australia scored one of its biggest hits of the year back in February with Faust. Sensational American tenor Michael Fabiano (below) thrilled audiences in the title role, with Car a gorgeous Marguerite and Teddy Tahu Rhodes a charismatic Mephistopheles.

Opera Australia’s year continued in fine form, with the ongoing successful model of the reviving the very best past productions and ensuring that new productions are of the highest possible quality. The company of Australian singers has been somewhat depleted, but local singers are still well represented and the roster of visiting international singers continues to impress.

Returning favourites this year included the epic spectacle of Elijah Moshinsky’s Don Carlos (1999) (below). South Korean tenor Yonghoon Lee and American soprano Lise Lindstrom thrilled Sydney audiences in Graeme Murphy’s majestic Turandot (1990). Australian soprano Lorina Gore and Albanian tenor Ramè Lahaj made auspicious Sydney role debuts in Elijah Moshinsky’s La Traviata (1994). Delightful soprano Rachelle Durkin starred in Simon Phillips’ dinky-di The Elixir of Love (2001). Divine Japanese soprano Hiromi Omura starred in what was rumoured to be the last outing of Moffatt Oxenbould’s cherished staging of Madama Butterfly (1997).

Melbourne had the chance to see the dark new Don Giovanni by Sir David McVicar, with Rhodes in top form in his signature role. McVicar’s Mozart/Da Ponte trilogy continued with a beautiful staged and expertly directed new production of The Marriage of Figaro.

Sometimes unfairly judged by comparison to traditional indoor acoustic opera, Handa Opera of Sydney Harbour maintained its place as a spectacular Event. Gale Edwards’ concept for Handa Opera on Sydney Harbour: Aida did not match the ingenuity seen in Madama Butterfly (2014) nor the artful simplicity of La Traviata (2012) but the production was graced with truly wonderful singing from American soprano Latonia Moore (below, right) and Australian-based Serbian mezzo-soprano Milijana Nikolic (below).

While Oscars and Tonys have raised profiles and sold tickets for years, Australia had its own experience of this when Opera Australia’s brilliant new opera The Rabbits (below) swept its categories at the Helpmann Awards and sold out long before it opened in Melbourne. The coming Sydney season is sure to experience the same level of success. The highly original opera was as boldly stylistic and entertaining as it was accessible and unpretentious.

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Victorian Opera continued their unrivalled dedication to new works with delightful new children’s opera The Grumpiest Boy in the World. A unique concert presentation in November paired Weill’s Die Sieben Todsünden with a newly commissioned collection of reflections on Seven Deadly Sins based on Australian states and territories. Cabaret sensation Meow Meow made a rare appearance on the operatic stage as the vulnerable heroine of Weill’s Die Sieben Todsünden.

Victorian Opera broke new ground with exciting 3D computer animation for their staging of Wagner’s The Flying Dutchman. The company scored the Melbourne operatic event of the year with a thrilling you-just-had-to-be-there concert presentation of Bellini’s I Puritani (below), in which soprano Jessica Pratt gave another highly memorable performance.

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Further concerts in Melbourne included a visit from golden American soprano Renée Fleming, who performed An Evening with Renee Fleming with the Melbourne Symphony Orchestra at the invitation of Maestro Sir Andrew Davis. Romanian superstar soprano Angela Gheorghiu made a long awaited visit, and while An Evening with Angela Gheorghiu showcased the beauty of her voice, the reliance on sheet music on a music stand and the lack of banter impacted the audience connection that should have been more strongly established.

The Melbourne Symphony Orchestra derived solid value from flying out beloved Welsh baritone, first pairing the charming star with local music theatre identity Lisa McCune for a concert of Broadway Classics. The following week, Terfel headlined a concert performance of Berlioz’s The Damnation of Faust (below), which was within a whisker of surpassing I Puritani as the operatic concert vent of the year. Terfel’s mischievous Méphistophélès was well matched in quality by English tenor Andrew Staples, whose pure tenor and French diction were a pleasure to hear.

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With a reduced output from Opera Australia in Melbourne (five mainstage operas, down from seven in 2014), other companies more than readily filled in the gaps with innovative, eclectic, lovingly staged productions to entertain Melbourne’s opera lovers.

Melbourne Opera had a particularly polished year, beginning with von Weber’s rarely seen, darkly dramatic opera Der Freischütz. This was nicely offset by the return of 2010’s zesty staging of The Barber of Seville, featuring an appealing performance from talented young tenor Brenton Spiteri. Finally, the bar was raised even higher with bel canto classic Mary Stuart, starring returning soprano Elena Xanthoudakis (left, below) opposite grand dame Rosamund Illing (below).

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The first of Lyric Opera of Melbourne’s 2015 seasons, comic pair Spanish Time and Gianni Schicchi, was more than sound musically but not quite on par with the production standard seen previously. The company followed this, however, with an exceptional presentation of long lost Marshall-Hall opera Stella, an exceedingly rare Melbourne opera. Soprano Lee Abrahmsen (below) gave a ravishing performance in the title role.

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Left Bauer Productions presented a truncated concert performance of Wallace and Korie’s Harvey Milk the Opera, which definitely left the audience wanting more. Gertrude Opera presented an affecting production of Britten’s Curlew River. CitiOpera filled the beautifully restored Hawthorn Arts Centre with the glorious music of Rossini’s La Cenerentola. Sydney Chamber Opera graced the Melbourne Festival with Gyger and Wilcox’s original opera Fly Away Peter, a haunting new work based on David Malouf’s poetic WWI novel.

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A highlight of the annual London visit was the chance to attend opening night for Royal Opera’s new production of Andrea Chénier starring white-hot übertenor Jonas Kaufmann (below). Directed by Sir David McVicar’s and conducted by Royal Opera music director Sir Antonio Pappano, the production was a fitting showcase for Kaufmann’s exceptional talents.

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The annual New York visit brought a chance to see act one of Don Carlo, which was cut for Opera Australia’s season. The superb performance of tenor Yonghoon Lee (below) in Don Carlo raised anticipation for his Australian return visit to star in Turandot. The Met’s epic Aida remains in glistening form, while the basic direction of Ernani is showing its age, despite strong performances from the lead singers.

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Looking ahead to 2016, highlights include further performances from Car and the completion of the McVicar trilogy in Opera Australia Season 2016, and the eagerly anticipated return of Pratt in Victorian Opera Season 2016.

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Best Operas 2015:

Main stage: The Marriage of Figaro (Opera Australia)

Independent: Mary Stuart (Melbourne Opera)

Concert: I Puritani (Victorian Opera)

International: Andrea Chénier (Royal Opera)

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Most Disappointing Operas 2015:

Main stage: Aida (Handa Opera on Sydney Harbour)

Independent: Spanish Time and Gianni Schicchi (Lyric Opera of Melbourne)

Concert: An Evening with Angela Gheorghiu

International: Ernani (Met Opera)

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Heavenly Performances 2015:

Main stage: Michael Fabiano (Faust, Opera Australia); Latonia Moore (Aida, Handa Opera on Sydney Harbour)

Independent: Henry Choo (Mary Stuart, Melbourne Opera); Lee Abrahmsen (Stella, Lyric Opera of Melbourne)

Concert: Andrew Staples (The Damnation of Faust, MSO); Jessica Pratt (I Puritani, Victorian Opera)

International: Jonas Kaufmann (Andrea Chénier, Royal Opera); Angela Meade (Ernani, Met Opera)

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Photos: #1, #3 Jeff Busby; #2 Lisa Tomasetti;  #4 Prudence Upton; #5 Jon Green; #6 Charlie Kinross; #7 Daniel Aulsebrook; #8 Robin Hall; #9 Kris Washusen; #10, #11 Simon Parris

Blessed with three excellent lead singers, this revival of Jonathan Kent’s 2006 production lands all the thrills of Puccini’s magnificent classic.

Leading the Orchestra of the Royal Opera House with expert precision, maestro Emmanuel Guillaume adds heft to the first renditions of Scarpia’s motif, adding pace each time the dramatic chords are heard, building to an exciting climax of act one. Each motif, in fact, is given careful treatment, with dynamics and tempo adding to the music and orchestrations that accompany each character.

Paul Brown’s design for act one is as realistic as it is dramatically effective. The action is set behind the main altar of great church of Sant’Andrea della Valle, with the Attavanti chapel under the altar. The main lower level gives Scarpia his own space in which to imagine the joys of ravishing Tosca. As the priests, nuns and parishioners sing the Te Deum, Scarpia seems to imagine the voices of heavenly angels reacting to the splendour of his lustful desires.

Delivering vocal power that can felt almost as much as it can be heard, Korean bass-baritone Samuel Youn enhances Scarpia’s commanding presence with a deliberately slow and measured gait and a creepy habit of positioning his face very close to people he is threatening. The musicality of Youn’s mellifluous voice is a wonderfully compelling sound, particularly when exposed over the external choir early in act two.

So effective and entertaining is Youn’s performance that one might characterise the death of Scarpia as more of a disappointment than a relief.

A mightily imposing statue of St Michael slaying a deservedly terrified victim dominates the dark wood-paneled setting for Scarpia’s study. Scarpia practically reenacts this scene when he viciously threatens faithful subordinate Spoletta with the fateful knife. A secret door in the bookcase leads to the torture chamber, with a little window opening to allow Cavaradossi’s brave cries to be heard.

Atop the Castel Sant’Angelo, the final action transpires beneath the wing of an otherwise unseen, but evidently massive, statue of a guardian angel. In an interesting interpretation, Kent has Cavaradossi realise his fate. Based on his knowledge of the evil of man, and the fact that only Tosca is specifically named on the safe-conduct letter, Cavarsdossi’s joy at Tosca’s news of the fake firing squad is short-lived, although he hides his despair from his lover as they spend their final moments together.

Celebrated Romanian soprano Angela Gheorghiu performs one her signature roles with effortless charm. Keeping the flouncing antics to a complete minimum, she instead conveys Tosca’s jealousy through a mockingly imperious nature, including some amusing business with her orders for Mary Magdalene’s eyes to be re-painted as dark on the mural rather than blue.

Realizing the power of her sexuality, Tosca almost subconsciously begins tantalising Scarpia to bargain for his favour when she enters his study.  Once realising, however, that he means to act out his lustful intentions, she scoops up the train of her dress and uses it as an attempted defense rather than as a sensuous accessory. Trying to keep the balance of power in her favour, Tosca sits in Scarpia’s chair

Beginning with a powerful moment of silence from the pit, Tosca’s “Vissi d’arte” is clearly a prayer of her inner voice, with Scarpia remaining in stage oblivious to the pleas for mercy in her thoughts. Gheorghiu sings the well-known aria with beautifully controlled grace and polish.

Italian tenor Ricardo Massi provides Cavadarossi with the comfortably well-fed look of a man of leisure. His well-supported voice is at its lustrous best when coloured with the rich tones of passionate romance, as in early aria “Recondita armonia.” In a powerful moment in act two, Massi imbues Cavaradossi’s cry of “Vittoria” with so much strength that the effort convincingly leaves the character drained. Massi’s excellent rendition of “E lucevan le stelle” effectively conveys Cavaradossi’s pangs of anguish and despair.

A highly attractive and believable couple, the extended act one duet between Gheourghiu and Massi takes on such intimacy that we almost feel like voyeurs, intruding on their private pleasure.

Hubert Francis is subtly slimy as Scarpia’s nefarious offside Spoletta. Donald Maxwell provides early levity as the exasperated, if well intentioned, Sacristan.

Tosca plays selected dates at Royal Opera House until 5 February 2016.

Tosca was reviewed 7.30pm Friday 15 January 2016.

Photos: Simon Parris

Gilbert Deflo’s production of Verdi favourite Rigoletto raises the piece to the grandest operatic scale. Thankfully, the singers are easily as spectacular as the soaring scenery.

Even for a matinee, the dress code for La Scala patrons are the suits and sparkles of evening wear. Being presented this well, however, doesn’t stop grown adults taking photos on their iPhones during the performance like teens at a rock concert.

To a degree, the sense of a rock concert is almost justified, given the swaggering confidence of star tenor Vittorio Grigolo. In a perfect match of role and singer, Grigolo has charisma and confidence to spare as the sexually scheming Duke of Mantua. From the moment he steps on stage, Grigolo is comfortably at home, lapping up the admiration and attention of the capacity audience like a recital soloist. Which, however, is not to say that he is not a strong actor and a great team player.

Swirling his cape like a super hero and holding court like a warrior, Grigolo effortlessly nails the light popular hits “Quest o quella” and “La donna e mobile” and also brings great sensitivity of expression to his dramatic arias “Ella mi fu rapita” and “Parmi veder le lagrime” at the start of act two.

As Rigoletto’s beloved daughter Gilda, the only word to describe the singing of American soprano Nadine Sierra is divine. With exquisite purity of tone, immaculate control, sensitive phrasing and stunning high notes, Sierra’s performance was a revelation. As an added bonus, Sierra is a doe-eyed, elegant beauty, and her portrayal of the ill-fated young Gilda won the hearts of all in attendance.

His vocal power and stage energy unaffected by the passing years, Leo Nucci delivers an electric performance of his signature role. Conveying Rigoletto’s bewilderment and blind fury, Nucci gains sympathy and affection. In superb voice, Nucci earns a roaring ovation with sympathetic aria “Cortigiani, vil razza dannata” as the pitiful hunchback tells the court that the woman they have abducted is his daughter.

As with the prima on 14 January, Nucci and Sierra bowed to demand and sang an encore of their Cabaletta at the end of act two, earning a mid-opera standing ovation. This is reportedly the first time a Verdi encore has been permitted at La Scala in 27 years.

A traditional production at its core, designer Ezio Frigerio nonetheless stages the opera on a truly epic scale. In a highly theatrical touch, the setting is a grand proscenium arch within the already grander than grand proscenium arch of the opera house. At curtain’s rise, dancers, musicians and ladies and gentlemen of court cavort before towering, decoratively carved gold walls with turquoise inlay.

Franca Squarciapino contributes to the spectacle with plenty of heightened details for his period costumes.

Rigoletto’s home lies downstage before a truly majestic city street, the height of which aids the visibility of the Duke and men as they stalk the hidden residence.

A further highlight of the design is the Duke’s palace, which features a massive wall of red and yellow stained glass windows.

Sparafucile’s makeshift dwelling lies before a great abandoned warehouse. Lighting designer Marco Filibeck fills this space with ominous lightning for the storm, which is also accompanied by torrents of real rain.

Carlo Colombara adds heft to assassin Sparafucile’s threatening presence with a rumbling bass.

Italian mezzo-soprano Annalisa Stroppa more than holds her own in this fine company as Maddalena, contributing lovely vocals to the famous quartet “Bella figlia dell’amore.”

Giovanni Furlanetto is somewhat outclassed as Monterone, his baritone not having the command required to make the curse sound sufficiently threatening.

Musicians of the Orchestra del Teatro alla Scala have Verdi’s music in their DNA. Under the nimble baton of Maestro Nicola Luisotti (below), the music sounds like the soundtrack to a Hollywood thriller.

A production of this scale and singers of this quality are the very reason patrons flock to La Scala.

Rigoletto plays selected dates at Teatro alla Scala, Milan until 6 February 2016.

Rigoletto was reviewed 3pm Sunday 17 January 2016.

Photos: Simon Parris

In a dream pairing, Piotr Beczala and Elīna Garanča deliver magnificent performances in this meticulously directed revival of Werther at Paris Opera.

A simple but effective production, first presented at Royal Opera, Covent Garden, London in 2004, the realistic but pared back staging allows full focus on the protagonists. This is only fitting given that the opera is basically an intense character study on two young people at a tumultuous point in their lives.

Before the sweeping panorama of a steely grey sky, the perilously raked stage is first the slate tiled courtyard of the Bailiff’s home then a road to the church. For act three, Charlotte’s home is bare and stark, making it clear she is not enjoying a warm marriage with Albert. In an intriguing combination of lighting and scenic design, the final set moves forward slowly as the lights slowly rise, allowing our eyes to gradually absorb the horror that has transpired within Werther’s room.

While the colours of the costumes have been carefully selected, Christian Gasc’s decision to keep the characters in the same outfits despite the passing of three seasons remains an odd choice. Werther stands out in a gorgeous blue suit while the others wear muted earth tones. One moment where the use of single costumes aids understanding is the brief snatch of subplot concerning Brühlmann. First seen boring his fiancée in act one, his moss green top hat and suit make him instantly recognisable in act two when he is seen bemoaning the fact that she has left him, despite the seven year engagement they had shared.

Maestro Giacomo Sagripanti leads the Orchestra of the Paris Opera in a sumptuous performance of Massenet’s richly coloured, highly expressive score. The wide, open orchestra pit of Opera Bastille allows the varying dynamics to be enjoyed with crisp clarity. Massenet’s gift to the orchestra is the inclusion of potent interludes, which are each played exquisitely.

Growing more handsome with each passing year, Beczala is nothing short of sensational as tortured soul Werther. First seen in round rock star sunglasses and knee high black boots, Beczala avoids the swagger that such a look could provide, imbuing Werther with tenderness as well as anxious self-doubt. In a thrilling act two, Beczala conveys Werther’s rising mania in his face and body. As much as Werther wants to see Charlotte, when he does see her, the pain only becomes worse. She delays their next contact to Christmas, which may only be three months away but to Werther it may as well be three years. All will and hope knocked out of his body, he slumps to the ground with a pain so great the only relief he can imagine is death.

Beczala’s magnificent singing of the role is enhanced by a superb legato quality, which is evident not only in his phrasing but also in the fact he seamlessly produces the same rich tone in his mid range as in his high notes. When singing, Beczala uses minimal movement or affectation, projecting a full range of emotions, all compelling, through his vocal expression. Popular arias can occasionally sound safely familiar, but Beczala delivers a blistering rendition of “Pourquoi me réveiller?“ that earns a roaring ovation.

Dressed in virginal white, Garanča attains the look of a blossoming young woman coming into her prime. A serene beauty, Garanča can project the profound sadness and confusion of Charlotte despite her sunny blonde looks.

Massenet’s writing of the lead female role for a mezzo-soprano is a masterstroke, allowing a lush, full-bodied sound where ornamental beauty would be extraneous. Garanča’s deliciously rich sound is as fresh and pure as ever, with the added benefit of a more mature edge. Garanča’s delivery of the act three letter scene is a tour de force that runs the gamut of emotions with startling power.

Based not only on the finely nuanced performances of Beczala and Garanča but also on the whole cast, it is evident that the production has been carefully directed for this revival presentation. The cast uniformly shares a grounded, focused approach, presenting their characters in a sincere, naturalistic manner.

Charlotte’s dear younger sister Sophie, as portrayed by Elena Tsallagova, provides a burst of sunny optimism with each appearance, singing in an entrancingly crystal clear soprano.

Stephane Dégout succeeds in making Albert a less attractive proposition for poor Charlotte, who promised her mother on her deathbed that she would marry the man. Dégout conveys a dry, serious manner as he sings the role with clean efficiency.

As the Bailiff, Paul Gay is a fit, vital figure, and sings the bass role with a pure, unwavering quality.

Rodolphe Briand and Lionel Lhote play comic roles Schmidt and Johann without a trace of “drunk acting,” relying solely on the heart and good will of these jovial men.

Seasoned operagoers may have already seen this production, but the stunning quality of performances is a strong reason to enjoy Werther all over again.

Werther plays selected dates at Opéra Bastille until 4 February 2016.

Werther was reviewed 7.30pm Wednesday 20 January 2016, its premiere performance for the season.

Photos: Simon Parris

Presented as a 1970s spy romp, Mozart’s The Abduction from the Seraglio is an amusing evening of beautiful music.

Mozart’s rarely seen opera, written mid-career on the cusp of his premium opera period, features lovely melodies that are simply there to be enjoyed. Conductor Greg Hocking leads a nimble, assured performance by Melbourne Opera Orchestra. The fine playing of many players is exposed in the score’s generous smattering of solo passages.

The featherlight plot, more of a scenario really, centres on the rescue of the kidnapped beauty Konstanze. The backstory and era are cleverly telegraphed through some swirling newspaper headlines during the overture. By the time the curtain rises and we discover Belmonte gathering up his opened parachute we know exactly what is happening.

Director Suzanne Chaundy’s concept fits neatly around the opera and generates an appealing aesthetic. The spoken dialogue is humorous but not over the top and certainly not crass. The humour is, to a significant degree, tied to the pace of the music. The type of comedy being suggested requires a more madcap feel, but this is not really possible with the lengthy stretches of music. Act one loses its initial momentum, but the remaining two acts benefit from moments of comic relief between gorgeous pieces of music.

Housed on a repurposed set previously designed by Andrew Bellchambers, the handsome production is enhanced by Daniel Harvey’s witty set dressing. Harvey may make a slight misstep by dressing two couples in pink and green, but the festive feel of his costumes overall complements the levity of the updated concept.

Lighting designer Lucy Birkinshaw generates the heat of the Mediterranean by bathing the stage in warm amber lights.

Although only utilised twice in this opera, the Melbourne Opera Chorus nonetheless sounds wonderful. The Chorus’ beautiful harmonies continue to be a feature of these productions thanks to the exacting work of chorus master Raymond Lawrence.

The knockout performance of the evening came from gorgeous soprano Lee Abrahmsen, who looked nothing less than goddess-like in her pale turquoise gown. As German diva Konstanze, Abrahmsen wobbled just a little on high notes in act one but made a stunning recovery in act two with a superb pair of arias. The first, “Endless grief tortures my spirit,” was filled with plaintive longing, and the second, “Tortures unrelenting,” was a mighty tour de force that brought down the house. Once in full flight, Abrahmsen’s expressive coloratura and lush high notes were an absolute joy to hear.

Eddie Muliaumaseali’i again proves a great sport in terms of using his hefty physique to convey a character. His Osmin is a surly bruiser, whose outward appearance is contrasted with a lovely rich singing voice. The role calls for some very deep notes and Muliaumaseali’i handled these passages with impressive control.

Christopher Lincoln Bogg brings a distinguished appearance to Belmonte, re-imagined here as a British aristocrat with Secret Service connections, and his tenor has a lovely tone. Bogg struggled with act three aria “Love, only love, can now direct me,” his voice tiring as the evening wore on, but he rallied for final duet “What dreadful fate conspires against us” with Abrahmsen.

Hannah Dahlenburg first appears in act two, taking to the stage in a confident, vivacious manner as Konstanze’s “PA” Blonde. Dahlenburg’s effortless soprano is heard to wonderful effect in act two aria “With smiles and kind caresses.” Singing beautifully, and maintaining an attractive sparkle in her eye, it is disappointing that more is not seen and heard of Dahlenburg, as the role of Blonde peters out as the opera progresses.

Paul Biencourt lands plenty of laughs as Pedrillo, adopting the accent of a 1970s British sitcom star. Nick Pelonis is somewhat underwhelming in the admittedly underwritten role of Pasha Selim.

Keen opera fans will appreciate the opportunity to experience The Abduction from the Seraglio.

The Abduction from the Seraglio plays again at Athenaeum Theatre, Melbourne on 9 February 2016, and at Robert Blackwood Hall, Monash University, Clayton on 19 March 2016.

Photos: Robin Halls

In an extraordinary collaboration, Victorian Opera and Musica Viva present the world premiere of Voyage to the Moon, a highly accomplished celebration of the beauty of Baroque music.

Music theatre buffs might think of an opera pasticcio as a jukebox musical. Here, works of Handel, Vivaldi, Gluck and several of their contemporaries have been seamlessly stitched to tell part of Ariosto’s 16^th century poem Orlando furioso (the full poem contains some 38, 736 lines!). The success in sourcing and arranging the music is a credit to the late Alan Curtis, who sadly passed away last year, and the subsequent work of Calvin Bowman.

Musical director Phoebe Briggs, on harpsichord, is joined by a sextet of carefully chosen musicians, whose expert knowledge of the baroque style allows them to play modern instruments with historically informed bowing and articulation. Arranged in a U-shape on stage, the musicians contribute to the performance energy with enthusiastic facial expression and spirited body language.

The opening night musicians were Emma Black
(oboe); Rachael Beesley, Zoë Black (violins); Simon Oswell
(viola); Molly Kadarauch (cello); Kirsty McCahon (double bass).

Complementing the integrated score is the deceptively economical work of writer, and director, Michael Gow, whose streamlined storytelling allows full focus on the emotional qualities of the music. Gow has the performers begin at full energy, the momentum never flagging for the 75-minute running time.

While surtitles would have allowed a more relaxed listening to the text (which is sung in English), the singers’ diction is excellent and the story is told broad, clear strokes. Friend Astolfo and magician Magus make a voyage to the moon to find the missing sanity of warrior Orlando. Guardian of the Moon Selena paves the way for a happy ending by eventually handing over Orlando’s sanity.

Christina Smith contributes a simple stage design, utilising theatrical objects such as stage lighting cases. A glowing full moon rises as Astolfo and Magus travel in a chariot made of two music stands. The lost items on the moon are the musicians’ instrument cases.

Far more elaborate are the gorgeously detailed period costumes, with Selena’s pale blue gown and sparkling crown a highlight.

Matt Scott’s lighting design keeps the stage wattage quite dim, to match the flickering footlights of the period.

Australia’s leading soprano Emma Matthews
is absolutely in her element, with the roles of Orlando and Selena combining to create an ideal showcase for her virtuosic talent. Beginning with her feisty characterisation of Orlando, Matthews clearly relishes the work, continuing with joyful abandon throughout the evening. In superb voice, Matthews’ coloratura is as astoundingly effortless as it is divine to hear. Matthews impresses with her first big aria “O why this rage and torment” (Molino), then later stops the show with “As strong as an army” (Hasse).

Mezzo-soprano Sally-Anne Russell
brings a serene, centred presence to Orlando’s devoted friend Astolfo. Delivering a strong pure tone and clean vocal lines, Russell sings with masterful control and blends beautifully in duets with Matthews. Russell’s tender delivery as Astolfo gently convinces Selena to hand over Orlando’s sanity successfully creates the emotional highpoint of the opera.

More than holding his own alongside these experienced colleagues, emerging young bass Jeremy Kleeman has an appealing sparkle in his eye as wise magician Magus. Kleeman’s youth allows a couple of fun moments, including a nifty spot of moonwalking and a physical position in combat with Selena that looks like he is about to shout “Expecto Patronum!”. Kleeman exhibits well-controlled power across an impressively flexible vocal range, his unwavering voice coloured with a most appealing warmth.

Voyage to the Moon is an inspired production, and the love that has gone into every note is evident. As much of a pleasure for the musicians to perform as it is for the audience to behold, Voyage to the Moon is a splendid musical treat that no opera lover should miss.

Voyage to the Moon plays at Elisabeth Murdoch Hall, Melbourne Recital Centre until Friday 19 February 2016 before touring to Sydney, Brisbane, Canberra, Perth and Adelaide.

The Voyage to the Moon program can be read online.

View the trailer for Voyage to the Moon:

Photos: Jeff Busby

The bel canto pleasure of L’Elisir d’Amore is significantly enhanced by electric chemistry between its romantic leads.

Having opened the Met’s 2012 season, this new production of L’Elisir d’Amore retains a fresh, airy feel. Although director Bartlett Sher and team usually work to freshen and find new angles on a classic work, their work here is ultra-traditional, almost conservative, and the result is visually gorgeous. At a time of all manner of directional concepts and conceits, the respect for the original text and intention is highly admirable.

That said, Opera Australia’s outback Australia production of The Elixir of Love remains the cleverest version I have seen of this richly melodious, gently comedic opera.

Sher and team’s seem to have deliberately gone back to grass roots, arranging the chorus in clear male/female groupings in lines so straight they evoke D’Oyly Carte. In work such as 2004’s The Light in The Piazza, Sher showed himself more than capable of creating a fascinating world of peopled by distinct characters for the chorus. To swing so far the other way seems a response to brief to be traditional, and thankfully the opera more than holds up to this approach.

Set designer Michael Yeargan set aside his talents for heightened realism and stylised theatricality to take a very painterly approach. The three-dimensional effects achieved are enhanced by a mix of carpentered sets and painted flats. Yeargan beautifully sets the stage for the opera’s biggest hit, as a gradual scene change over several minutes replaces the wedding barn with an open, pastoral setting where Nemorino wanders and sings “Una furtiva lagrima.”

Catherine Zuber varies the palette for her lush costuming, beginning with earthy tones in the field before moving to light blues and greys in the town. The women’s gowns at the wedding are exquisitely hued in the palest of pale pastels. Soldiers of the visiting regiment sport uniforms of the most divine azure blue (which are wonderful to look at but surely completely impractical in battle). A charming top hat represents Adina’s slight tomboyish tendencies. Doctor Dulcamara must be doing a thriving trade in potions as he churns through a number of lavish, dandy outfits.

Maestro Enrique Mazzola, looking striking in red spectacle frames and matching pocket square, leads the Met Orchestra is a sprightly rendition of Donizetti’s highly hummable score. Placed high in the pit, Mazzola works closely with his singers to ensure a perfectly integrated performance.

In a perfect match of singer and character, Vittorio Grigolo is exceptional as the lovelorn Nemorino. His rich tenor voice fills the cavernous Met with seemingly effortless power. Earning shouts of Bravo! from his first aria, “Quanto è bella, quanto è cara,” Grigolo is in excellent form, entirely convincing as a gullible, grinning youth. After drinking too much “elixir,” he appears with extra colour in his cheeks and is comically chased about by the fortune-hunting women of the town. For the sober “Una furtiva lagrima,” Grigolo brings down the house with an expertly controlled performance that allows moments of heartfelt pain to burst through the melancholy.

Blessed with a heart-shaped voice and a voice of gold, Aleksandra Kurzak is entirely delightful as Adina. A charismatic lead, Kurzak works equally well with each of her male counterparts and also clearly conveys the wealthy landowner’s respectful relationship with the workers and villagers. Kurzak sings the role with beautifully sunny tones, her expression coloured by the radiant joy of singing on stage.

Kurzak and Grigolo enjoy palpable chemistry, with Sher’s focus ensuring the tension of the simmering love is clearly felt. When the pair finally has their first passionate kiss, the knees of Grigolo’s Nemorino buckle. As the pair falls to the ground, Nemorino sits slumped against Adina’s bosom, delirious in his happiness.

Adam Plachetka is a tall broad-shouldered Belcore, using his height to convey the character’s all-consuming confidence. Plachetka sings with commanding but unforced power.

Highly experienced bass Alessandro Corbelli is a characterful Dulcamara. Singing with crisp diction, his rapid patter is expertly performed. Corbelli also enjoys string chemistry with Kurzak, and their act two barcarolle is wonderful.

Young soprano Ying Fang provides strong support as the cheerfully friendly Gianetta, her voice ringing out clearly above the chorus.

The current season of L’Elisir d’Amore is a joy, and is an ideal introduction to opera for newcomers.

L’Elisir d’Amore was reviewed 8pm Saturday 26 March 2016 at Metropolitan Opera, NY.

Man in Chair also reviewed the 2012 Live in HD presentation of L’Elisir d’Amore.

Photos: Simon Parris

Met Opera’s stunning production for their premiere season of Roberto Devereux boasts four world-class singers in the leading roles.

Opera cognoscenti will already be aware that this production completes acclaimed American soprano Sondra Radvanovsky’s goal to portray the three major Donizetti queens in one Met Opera season. An extraordinary vocalist and excellent actress, Radvanovsky triumphs in the wonderful showcase of a role that is Queen Elizabeth.

Sir David McVicar’s name is a virtual guarantee of a sumptuous, intelligent production. In this post-Zeffirelli period at the Met, the production values of Roberto Devereux provide a crowd-pleasing level of spectacle. Combined with the stellar cast, this is what coming to the Met is all about.

Being director and set designer allows McVicar to realise an integrated concept for the staging. As with his epic Don Giovanni for Opera Australia, the opera takes place on one massive set, despite the mention of various locations in the libretto.

The grand black and gold setting is visible as the audience enters, with an ominous sarcophagus centre stage. As mourners gather during the overture, the strains of “God Save the Queen” seem ironic when the Queen’s body appears to be on display before her funeral. The rear wall glides forward and the sarcophagus is swept away. In an interesting move, McVicar has the ladies and gentleman of the court stay on side stage all night, watching and gossiping during even the most intimate of scenes. It would seem that royalty has always lived in the public eye.

Entering in a delectable gown of muted emerald silk, mezzo-soprano Elīna Garanča, as Sarah, exhibits the quality of singing that will be a hallmark of the evening. The increasingly mature tone of her voice streaked with the sorrow of unrequited love, Garanča sings Sarah’s melancholic aria “All’afflitto è dolce il pianto” with lovely control.

Costume Designer Moritz Junge delivers gowns that are as glossy as the setting, tweaking the period look with a few modern angles. Queen Elizabeth’s virginal character is represented in her pale, incredibly lavish gown when Radvanovsky first enters.

The vocal fireworks commence immediately as Elizabeth furiously seeks the woman who has Robert’s attention from her, not knowing her friend Sarah is the offender. With the Queen in her late 60s, Radvanovsky gives her a slight hobbling limp and uses a smart red walking stick.

The four characters interact in a series of duets (and one trio), with each combination equally enjoyable in this company.

With two women in love with Robert, it is perhaps appropriate that tenor Matthew Polenzani looks particularly handsome, with light beard and sharp hair cut. Sparks fly in his act one duet with Radvanovsky, “Nascondi, frena i palpiti” as the Queen quarrels jealously with the object of her affection.

As Duke of Nottingham, baritone Marius Kwiecien completes the quartet of stellar lead singers. Following the arc of the wronged husband, Kwiecien demonstrates his strength and flexibility as an actor, singing with heroically optimistic tones in act one, before adopting a darker, vengeful feel in act three.

Alone together, Robert and Sarah sing bittersweet duet “Dacchè tornasti, ahi misera,” with Polenzani and Garanča finishing exquisitely with heart-melting piano, a capella phrases.

The heart of the drama occurs at the act two finale, as Elizabeth admonishes Robert for accepting a scarf from his lover, an object that the Duke recognises as coming from his wife Sarah. The trio builds to a peak as the chorus joins the final moments.

Act three opens with another beautiful duet as the Duke angrily confronts his wife Sarah in “Non sai che un nume vindice.”

Alone in his prison cell, Polenzani gives a stirring, carefully calibrated performance of Robert’s big aria “Come uno spirto angelico,” which is met with great acclaim from the audience. Unfortunately, at this performance, Polenzani’s voice tires somewhat at the end of the subsequent short aria, “Bagnato il sen di lagrime,” producing some strained notes. It remains a wonderful performance overall.

The spotlight returns to Radvanovsky for the final scene. In her madness, the Queen removes her robe and wig, looking like a ghastly shadow of her former glory. Radvanovsky’s commitment remains strongly focused until the last, the Queen’s delirium providing a final showcase for the untiring suppleness of her voice.

Maestro Maurizio Benini demonstrates his special flair with the bel canto repertoire, presiding over a seamless performance of Donizetti’s thoroughly enjoyable score.

Roberto Devereux is a highpoint at this point of the Met’s 2015-2016 season. Attendees will see every dollar of their ticket price on stage.

Roberto Devereux was reviewed 7.30pm Monday 28 March 2016 at Met Opera, NY.

Roberto Devereux will screen as part of the Met Live in HD series on Saturday 16 April 2016. (Screenings in Australia begin 2 July 2016, details HERE)

Photos: Simon Parris

Showcasing the stunning talents of leading lady Jessica Pratt, Victorian Opera presents a highly traditional new staging of Donizetti’s classic bloodbath Lucia di Lammermoor.

The conventional, respectful nature of this handsome production is in sharp relief to the controversy this past week over Royal Opera’s grisly, explicit new staging.

West Australian Opera mounted this work in 2012, recreating the set designs of Henry Bardon and the costume designs of Michael Stennett from Opera Australia’s 1980 production. With the black side tabs removed, the stage of Her Majesty’s looks impressively vast, the multi-level performance space filled with gothic pillars and a grand curved staircase. The scenic elements are reconfigured quickly and efficiently for each scene, creating ample visual interest as the opera proceeds.

Donn Byrne’s lighting design heightens the gothic mood considerably, using shadow and light, and plenty of haze, to create an eerie atmosphere. When Lucia makes her first entrance, through the thick mist down the steps to the fountain, it is a beautiful sight.

Stennett’s costumes are on a grand scale, with period and ornamental detail fully realised. The dark green and red Lammermoor tartan is seen on the Ashton men and women, with a different tartan conspicuous on members of Arturo’s family at the wedding. Lucia wears sumptuous gowns, but the men are equally well dressed, with Lucia’s love Edgardo looking noble in decorative black leather and groom Arturo looking fetching fey in powder blue suit and feathered hat.

Maestro Richard Mills, artistic director of Victorian Opera, leads Orchestra Victoria in a fine performance of Donizetti’s richly melodious score. At the top of the night, Mills silences and focuses the audience with the softest brass and timpani playing, the music ominously suggesting the distant hunt for Lammermoor intruder Edgardo. The passage of sound in Her Majesty’s allows a pleasant balance between instrumental and vocal music, although there is a slightly dry, raw tendency to sound in the venue rather than the more resonant sound of an opera house or concert hall.

While the opening scene of the Lammermoor men hunting for the intruder is somewhat stiff and static, the ensemble work improves with the full complement of men and women at the wedding. Preparation of chorus singing is first rate, and their combined work is as strong and as valuable as any of the soloists. The festive dancing at the start of act three creates a contrast to the chilling news delivered by Raimondo.

Director Cameron Menzies distinguishes the lead characters broadly and distinctly while also adding nuances to the psychological drama. Pratt is a talented actress, and under Menzies’ direction she is able to clearly convey Lucia’s unravelling mind under the duress of the forged letter from her true love and her arranged marriage to a neighboring landowner. In the famous mad scene, Pratt shows Lucia to be lost in her own world, dancing giddily, thinking pensively, sighting and hearing the ghost as she sings a call and answer duet with it. Menzies has Pratt make ghoulish use of the bloodied wedding veil, with Lucia draping it back and forth over her head as she sings.

In her third Melbourne appearance in three years, Pratt again demonstrates the remarkable strength of her altissimi notes. She begins the evening wisely holding some power in reserve as she charms the audience with the carefree Lucia’s lovely singing by the fountain. A hallmark of Menzies’ direction is the thoughtful use of musical interludes, and Pratt benefits from this, moving naturally to new stage positions and arrangements each time.

Pratt builds throughout the night, dazzling with the full complement of interpolated high notes. Her mad scene is utterly spellbinding; the stage is full of wedding guests but every eye is on Pratt. Her coloratura includes some traditional phrases as well as some that are special to her performance. Variety of dynamics, range and style are carefully planned allowing for a seemingly effortless performance that fully lives up to the high expectations.

Pratt is well matched with burgeoning tenor Carlos E. Bárcenas, a former Developing Artist of Victorian Opera who makes a well-deserved debut in the lead male role of Edgardo. While Bárcenas has some room to grow in terms of developing a relaxed and fluent acting style, he is vocally assured in the role, with impressive security in his upper register. Bárcenas matches Pratt with the interpolated high notes, and the pair sound delightful singing the well-known duet “Ah! Verranno a te sull’aure.”

Appearing years younger with a lush wig, José Carbó presents the manipulative determination of Enrico without melodramatic villainous flourishes. Menzies gives Enrico a sympathetic edge by having him let down his hyper-masculine guard by begging on his knees to Lucia for her cooperation in the wedding. Carbo sinks under pitch slightly in early singing, creating a robust and heroic sound overall.

Commanding bass Jud Arthur brings authority and gravitas to chaplain Raimondo, singing with reliable precision and focus.

Michael Lapiña makes a strong impression as huntsman Normanno, making good use of the resounding quality of his pure tenor voice and exhibiting lively facial expression.

In a highly auspicious professional debut, Shakira Tsindos lends strong support as Lucia’s maid and companion Alisa, more than holding her own as she sings with Pratt in act one.

Michael Petruccelli sings with a sweet, high tone in the brief appearance of ill-fated groom Arturo.

While Victorian Opera are more closely associated with innovation and edgy performance styles, this fully fledged staging shows the depth of variety and talent in the company. Lucia di Lammermoor is a welcome event in Melbourne’s opera, and opera lovers will need little encouragement to make sure that they do not miss Pratt’s stunning performance in her signature role.

Lucia di Lammermoor plays at Her Majesty’s Theatre, Melbourne until

The Lucia di Lammermoor program can be read online.

Photos: Jeff Busby

Now in its fifth year, Opera Australia would seem to have perfected the presentation of Handa Opera on Sydney Harbour as a Major Event. This year’s offering, Turandot, is intelligent, lavish, slick and musically superb.

While Destination NSW tries to send out the message that certain musicals are exclusive, Handa Opera on Sydney Harbour truly is an Only In Sydney event. This may not be the only outdoor opera in the world, but the location is truly unique. Just entering the custom-designed site feels special, with the city skyline, Harbour Bridge and Opera House creating a backdrop more stunning than any designer could possibly create.

Turandot designer Dan Potra has made excellent use of this site-specific landscape. The perilously raked stage rises up to the dragon’s tail, representing the Great Wall of China, with the glittering cityscape still clearly seen in the background. Even Princess Turandot’s gleaming pagoda, studded with talons as spiky as her personality, sits in line with the height of city buildings in the distance.

While outdoor opera cannot provide acoustic music, the absence of which is potentially a deal breaker for purists, the creative team of Turandot has utilised the features that it can provide. Free from a proscenium arch, director Chen Shi-Zheng makes terrific use of height, flying first the Mandarin then the Emperor (Turandot’s “exalted” father) overhead by crane. Appearing in a high window of her pagoda, the Princess moves progressively closer to ground level as Prince Calaf solves her deadly riddles. Fireworks, now a traditional annual inclusion, mark the end of mega-hit aria “Nessun Dorma.”

The abundance of space in all directions give lighting designer Scott Zielinski scope to include a myriad of lights, which continually and extensively evolve with the mood of the opera. This is the first Handa Opera to make use of projections, benefitting from the sophisticated design of Leigh Sachwitz. Given the vast distance from the projectors to the dragon’s tail, the animated projections are impressively sharp and clear.

Indicating the level of collaboration within the creative team, Potra’s costumes for the villagers are of a flat silvery material that serves as an additional canvas for the projections. Costume choices are on a grand deal without being quite as outlandish as some of those seen last year in Aida. The movements of Ping, Pang and Pong make very good use of their boldly coloured, sweeping garments. The female dancers, likewise, make lovely use of long draping cuffs on their sleeves. Gleaming blue paneled military garb is particularly attractive. While each of the lead performers is well served with a highly distinctive costume that clearly identities their role, the fact that the lead characters bear no similarity to any chorus characters seems an odd choice as they are all meant to be from the same world.

Edited for length, but not egregiously, the performance satisfies lovers of Puccini’s music while also providing a user-friendly running time for beginners or social operagoers. The 35-minute interval provides ample opportunity to enjoy custom hospitality, if one’s budget stretches that far, or take a closer look at the mighty dragon’s head or just enjoy the magnificent view as showcased by the highly creative site design by Adrienn Lord.

Shi-Zheng tells the dramatic fairy tale in bold, clean strokes. The timeless setting suggests the vast history and fine cultural accomplishments of China. Turandot is often seen as icy, but her imperious actions here are tempered with the understanding that she is trying to protect her family’s rule from an interloper. Rather than be carried away with spectacle, Shi-Zheng uses the large-scale production elements, huge chorus and lively troupe of dancers to judicious effect. The tightly drilled dancing is choreographed by Shi-Zheng.

In his fifth outing as Handa Opera conductor, maestro Brian Castles-Onion keeps the action humming along with brisk tempi. Presiding over a massive number of musicians and singers, Castles-Onion’s rock solid musicality and his flair support his unflinching leadership. Tony David Cray’s sound design capably transmits the fine playing of the Australian Opera and Ballet Orchestra, particularly the harp and the percussive bells and chimes.

Chorus preparation, by Anthony Hunt, is reliably excellent. The unisex flowing robes for the chorus create an interesting effect as the singers all look very similar yet all voice types are heard.

Given that outdoor amplified singing is not the primary focus of an opera singer’s career, Handa Opera has again attracted a top cast, each of whom is working at their premium level. Amplification occasionally works against vocal dynamics, but reproduction of tone and expression is excellent.

The performance is enhanced by the raked stage and raked seating creating a close connection between singers and audience. For example, it can be clearly seen which of Luke Gabbedy, Benjamin Rasheed and John Longmuir are playing Ping, Pang and Pong. Each of these three sings with precision and expressive colour, and their animated reactions of outrage and disapproval are most amusing.

Appearing relatively late in the opera, after most characters have been established, any Turandot must strive to make her mark as the title character of the piece. Serbian soprano Dragana Radakovic makes a sensational entrance from a tilting arm high in her spiky pagoda. Singing with unwavering power and focus, Radakovic conveys the steely determination of a young woman who is forced to keep society at an unfriendly distance. Radakovic later allows a wave of warmth to melt the ice when Turandot is outwitted by Calaf.

Imposing tenor Riccardo Massi is in powerful voice as the brave and, fortunately, intelligent Prince Calaf. Singing with equal strength across his register, it is clear early on in the night that “Nessun Dorma” is going to be quite the showstopper, and Massi’s soaring rendition certainly lives up to this promise. The combined power of Massi and Radakovic brings compelling force to the final sequence, written by Alfano after Puccini’s untimely death, which can potentially fall flat after the integrated splendour of the choral and principal singing from the rest of the opera.

Hyeseoung Kwon gives an endearing performance as plucky slave girl Liù. Dressed in masculine-looking survival wear, Kwon’s beautiful singing allows the full femininity and vulnerability of Liù to pour forth, engaging the audience in the dear girl’s plight. Kwon effectively conveys the pain and indignity of torture, leading to a moving final moment for the character.

Conal Coad also gives a sympathetic performance as the fragile Timur. Unfortunately, Coad is robbed of Timur’s powerful aria, ” Liù, Liù, sorgi!” which usually provides a moment of solemnity after Liù’s death.

David Lewis lends his authoritative tenor voice to the uncompromising Emperor.

Turandot was reviewed 16 April 2016 at Fleet Steps, Sydney where it plays until 24 April 2016.

Photos: Prudence Upton

Evergreen world favourite La Bohème is always a popular choice, and when enhanced by the performances of such glorious singers it is easy to appreciate its enduring appeal.

Back in 2011, Melbourne was fortunate enough to host the premiere of this production, the first to be commissioned by new artistic director Lyndon Terracini. It has become a regular summer fixture at the Sydney Opera House, but this is the first return visit to Melbourne. The calibre of the cast assembled for this return season means it has been well worth the wait.

While revisions to the time and place of operas can land with a thud, Director Gale Edwards’ masterful vision see the characters transplanted from 1830s Paris to early 1930s Berlin. Taking shelter in an abandoned spiegeltent, the young artists live their Bohemian lifestyle in a seductively decadent, licentiously liberal city. The presence of military regimentation hints at a darker future to come for the city.

Creating grand playing spaces, set designer Brian Thomson houses the action in the frame of a towering spiegeltent, its festive colours fading fast. Instead of painting a simple canvas, Marcello is painting a mighty mural on the walls of the tent. His interpretation of the parting of the Red Sea provides a dramatic backdrop for the final act. Instead of pausing for a scene change for act two, Thomson stages a transition from the interior to exterior by angling the walls, and follows this with a spectacular jump to the opulent splendour of the Café Momus.

Julie Lynch’s costumes delineate the characters with clarity, particularly for the four male friends. Playing Musetta, Jane Ede’s height adds extra glamour and presence to her shimmering sequined dresses and elegant blond marcel wave. Lianna Haroutourian is not as well served by Mimì’s plain dress and simple bob, with the overall effect suiting the sweetness of the character but not conveying how she caught the eye of viscount.

Revival director Andy Morton makes excellent use of the space and brings out the sense of fun of the struggling but merry artists. Marcello and Musetta’s protracted physical argument in act three makes perfect sense in light of their artistic temperaments. Played by slightly older artists, Mimì and Rodolfo’s love story comes across more as the discovery of midlife love than the expression of youthful passion, but the effect is just as touching. Morton achieves a palpable sense of closeness and sorrow amongst the six leads in the tragic final moments of the opera.

Maestro Andrea Molino maintains a gentle dynamic to Orchestra Victoria’s performance of Puccini’s evocative, romantic score, allowing key woodwind and harp phrases to provide gorgeous colour.

Italian tenor Gianluca Terranova has more than proved himself in prior Australian seasons of La Traviata and Rigoletto, and his singing as Rodolfo is equally superb, if not better. Without betraying a hint of effort, Terranova moves smoothly from mid range to his highest notes with the same clarion tone and carefully controlled power. From a magnificent beginning with “Che gelida manina,” Terranova gives a thrilling performance throughout the entire evening.

Making a very welcome Melbourne debut, Armenian soprano Lianna Haroutourian calibrates her voluptuous soprano, bringing out the fragility in Mimì with tender, silvery notes. The contrast with Haroutourian’s Sydney debut in the far more imposing role of Desdemona in Otello exhibits her adept range. Haroutourian’s luscious vocals blend beautifully with Terranova, and they create a most appealing pair of characters.

The success of this season is strongly supported by the excellent work of the remaining principals. Hearty Australian baritone Andrew Jones practically owns the role of Marcello in the various seasons of this production, and he brings a sexy, commanding vitality to the stage. Versatile Australian soprano Jane Ede proves an excellent choice for Musetta, conveying in equal measure the character’s vanity, glamour, jealousy, passion and tenderness and singing “Quando m’en vo’ (Musetta’s Waltz)” like a shimmering art song.

Continuing the strong Australian presence in the cast, baritone Shane Lowrencev provides some much-needed levity as the fanciful Schaunard. Bass Richard Anderson, largely hidden under a bushy beard, gives an affecting rendition of Colline’s somber coat aria, “Vecchia zimara.”

While long-term operagoers may feel they have attended sufficient performances of La Bohème, the superb cast for this Melbourne season is a very strong drawcard. Newcomers to opera will swoon over the romantic music and story.

La Bohème plays selected dates at State Theatre, Arts Centre Melbourne until 28 May 2016.

Photos: Jeff Busby