Verdi’s opera given a 1930s setting
HIS production of Verdi’s Un Ballo in Maschera is a happy combination of the new and the familiar.
Oddly enough, Opera North has never before staged the opera, despite performing several less well known and arguably inferior Verdi operas. Equally new to the company is the Hungarian soprano Adrienn Miksch, making an outstanding UK debut as Amelia.
However, the cast is full of Opera North favourites, notably the redoubtable Rafael Rojas, very much the company’s tenor of choice in 19th and early 20th century Italian opera. Direction is by Tim Albery who has helmed so many Opera North successes.
Most pleasing of all is the return of Richard Farnes, the 2017 Royal Philharmonic Society Conductor of the Year. for the first time since he vacated the post of music director.
Un Ballo in Maschera deals with historical events with a measure of accuracy. King Gustavus of Sweden was assassinated at a masked ball in 1792 by conspirators including Event: Venue: Review: Rating: Ribbing, Horn and Anckarstrom, after a prophecy by the soothsayer Ulrika Arfvidson. All this is in the opera but, of course, we must have a little love and betrayal so Anckarstrom becomes Gustavo’s loyal friend who joins the conspiracy only because the King loves his wife, the totally non-historical Amelia.
Tim Albery shifts the action to the 1930s and Hannah Clark’s costumes give us trilbies, trench coats and elaborate uniforms – fair enough, issues of abuse of power, conspiracy, political gangsters and assassination fit the period. If the sets are relatively unappealing they allow a flexibility between scenes that is key to the production’s momentum.
Much of the appeal of Un Ballo in Maschera comes from the contrasts, often ironic, between personal tragedy and joyous frivolity and these are brought out perfectly in Albery’s meticulously detailed direction and Farnes’ beautifully paced conducting.
The one great scene between Amelia and Gustavo is compelling and Rojas and Miksch both sing superbly throughout while acting with conviction and naturalness, he negotiating a range of mood swings effectively, she communicating an affecting intensity.
Patricia Bardon’s powerful, richly sung Ulrica has echoes of Marlene Dietrich, though not vocally. Tereza Gevorgyan is a mischievously androgynous delight as Oscar the page (here Gustavo’s secretary).
The performance of Phillip Rhodes, a solidly reliable Anckarstrom, catches fire from the moment he realises his wife’s love for Gustavo.
All the small parts make their mark and the chorus and orchestra, as ever, excel.
Un Ballo in Maschera will be at Leeds Grand Theatre on Saturday, February 10; Thursday, February 22 and Tuesday, February 27.