Melodrama that’s twice as powerful
Cavalleria Rusticana & Pagliacci (Royal Opera House) Verdict: Opera at its most intense
IN THIS season of goodwill, why not enjoy a brief interlude and indulge in two doses of lust, betrayal, revenge and murder. Those heavenly twins Cav & Pag are back in town, with everyone in the two casts singing their socks off.
Actually, the American tenor Bryan Hymel solves one problem for Covent Garden by singing both Turiddu in Cavalleria and Canio in Pagliacci, as Gigli used to do. His is not a beautiful voice, but it is well grounded and thrilling in his great arias.
The other stand-out is Latvian mezzo- soprano Elina Garanca, absolutely stunning as the scorned Santuzza in Cavalleria. Her lovely tone is never strained, yet she seems to have more and more of it to give — a great performance. Our own Simon Keenlyside is a marvellous Tonio in Pagliacci, sonorous in the famous Prologue and characterful, whether he is funny or spiteful.
In January, Roberto Frontali will sing Tonio and the carter Alfio in Cavalleria. Mark Doss, who has been portraying Alfio, is a big handsome figure but a little disappointing vocally.
Similarly the Nedda in Pagliacci, Carmen Giannattasio, acts well, but turns in a rather generalised vocal display (I suspect Simona Mihai will be more interesting in the later cast). Andrzej Filonczyk sings beautifully as Nedda’s lover Silvio.
The production by Damiano Michieletto cleverly links the operas. Less cleverly, it plays fast and loose with what Mascagni and Leoncavallo wanted — not for the better.
There is an appalling vulgarity in Cavalleria involving the Blessed Virgin Mary and I thought I might scream if the boring sets rotated any more.
Still, Daniel Oren conducts with great verve and the audience loves the double bill. Chorus and orchestra enhance a wonderfully melodramatic evening.