Two A-list stars in a passionate musical embrace

Werther Royal Opera, Covent Garden

Budgets being restricted, operatic star power has been in short supply at Covent Garden this season. A revival of Benoît Jacquot’s anodyne production of Massenet’s torrid romance goes some way to make up for that dearth, offering an exceptional opportunity to witness two of the world’s top 10 seeds locked in impassioned musical embrace.

Joyce DiDonato and Vittorio Grigolo do not disappoint, although both are new to their roles (neither had previously performed them on stage), and their interpretations will doubtless mature as the run progresses.

DiDonato, in particular, seemed to be pacing herself as the virtuous Charlotte, trapped in a Brief Encounter situation in which erotic urges must be resisted in the name of marital continence. DiDonato lacks the ideal vocal physique for the role – the lower ranges and darker timbres of Elina Garanca or Alice Coote were more what Massenet had in mind – and there were moments at climaxes when caution advised her to hold back where others would let rip.

But how beautifully and sensitively she sang, her Yankee freshness of personality irradiating every note: the Letter scene of the third act became all the more powerful for being so restrained, and her cradling of Werther’s dying corpse was heart-rendingly tender. Yet she never over-egged Charlotte’s girlish innocence; here was a woman who knows that one must stick with one’s choices in life.

Grigolo will always divide opinion; some think he’s a preening phoney, others find his unabashed commitment thrilling. I subscribe to the latter category.

His Werther was pretty marvellous – boyishly handsome, all ardour and tears, mercurial, vulnerable and impulsive, and marred by far less stylistic vulgarity than that of, say, Roberto Alagna. His voice isn’t outstandingly beautiful, but it draws on rock-solid technique, and although he sings (as my companion succinctly put it) on a full tank, the sound isn’t just a relentless blast – his French is excellent and “Pourquoi me réveiller” was shaped with a subtlety that proved he has a mind as well as a gut.

Heather Engebretson simpered prettily as the soubrette Sophie; David Bizic impersonated Charlotte’s stolid husband Albert with dignity; and Yuri Yurchuk and François Piolino did a nice double act as the bibulous comic relief. The conductor was Antonio Pappano, communicating his special fondness for this luscious, palpitating score to a responsive orchestra.

There are seats available for future performances – the opera may be a gloomy affair, but DiDonato and Grigolo make something uplifting of it. Until July 13. Tickets: 020 7304 4000; roh.org.uk