Fine tale full of passion and plotting protagonists

A TALE of passion, plotting and protagonists complemented by some stunning music took to the Concordia Stage this week, writes Tony Parratt.

Stanley Opera presented Verdi’s ‘A Masked Ball’ and a fine job they did too!

Alexander Anderson-Hall as King Gustav, a man madly in love with his aide Count Johan Von Anckarstrom’s wife Amelia, was in superlative form.

He put so much emotion into his singing that it really did tug at the heartstrings as he wrestled with his conscience about loving another man’s wife.

Debbie Dubberley as Amelia, the woman in love with the king, was his equal in the singing stakes, and although I have to confess I did not readily recognise any numbers, they were of the usual Verdi high quality.

Chris Marlowe as the, at first, loyal Count Johan was his usual commanding self, hitting every note with apparent ease, while Terry Astill and Adam Lawrence as two conspirators had some great songs to belt out.

And Melanie Nute as Oscar, Gustav’s page, made the most of the skitty, ditty type songs she was asked to perform.

Things change when Gustav overhears Amelia decide she is going to see a fortune teller to try to help her overcome her love for the king and remain faithful to her husband. He follows her and although heavily veiled recognises her and they declare their mutual love.

But then the fortune teller declares that the king will die at the hands of the next person to shake his hand.

Wendy Sylvester as Ulrica Arfvidsson, the fortune teller, was all mystery, with a touch of mayhem as she wove her magical spells on the crowds.

The loyal Count Johan is convinced by Gustav to spirt away the veiled lady, but circumstances force her to take this off and jealous with rage, he suspects that his wife and the king have been disloyal to him.

He decides to wreak his revenge and join the conspirators who are plotting to overthrow the king.

By drawing lots it is decided that his hand, which last shook the king’s, should now be the one to end his life.

The last scene where the count, his wife and the king all appear at the Masked Ball will end with the death of the king, but not before he informs the count, with his dying breath, that his wife has never been unfaithful to him.

Once again, the strength of the Stanley Opera Company is their depth and the rousing choruses added greatly to the production.

Although one could argue it is not one of the more familiar operas, it once again hit all the right notes for lovers of this genre.