Settings switched in clever move for opera double bill
ANYONE who thinks they know Mascagni’s one-act opera Cavalleria Rusticana could be in for quite a shock when the curtain opens on Opera North’s production.
Instead of an Italian village square with picturesque church in the background we’re plunged into lives that are stressed and down-at-heel. It’s a world drained of colour, where people’s energy is sapped by queueing for what little food is available. In Karolina Sofulak’s production we are, in fact, in 1970s communist Poland: a clever move.
It’s clever because material deprivation increases the pressure on relationships: family, lovers, the church. The stage is used symbolically so we are aware of all the pressure points at the same time. There are some extraordinary moments, such as the singing of the famous Easter Hymn, against which we see into Santuzza’s mind as she worships her man Turiddu with all the shocking intensity of Christ on the cross.
In this brutal, sordid music drama of illicit love, jealousy and revenge, the final murder is crammed into the iconic, tiny Fiat taxi cab parked on stage. And yes, there’s plenty of blood on the windscreen.
The images may be grim but the sounds of this production are magnificent. Giselle Allen is thrillingly intense as Santuzza; Andrés Presno is a vocally splendid Turiddu and Robert Hayward an eagle-eyed, incisive Alfio. All the other principal roles are strongly cast – and the company’s Chorus packs a powerful punch.
After the interval in this operatic double-bill came a rare chance to hear Rachmaninov’s early opera Aleko, another drama with jealousy and murder at its heart.
Again the setting is changed. Russian gypsies become a 1990s bohemian commune, the set dominated by surfboards, hammocks and lots of chilling and drinking. There’s more colour for the audience’s eyes from Charles Edwards’ sets but the opera itself doesn’t really provide much to get one’s teeth into.
There are some lovely folk-like song and dance melodies in the score but it’s all rather static and too laid-back for its own good.
Robert Hayward is impressive as the man rescued by love from loneliness only to be banished for ever by the act of jealous murder. Once again Andrés Presno shines as the Lover and the role of Zemfira is sung with fierce spirit by Elin Pritchard, especially in her bitingly cruel ‘old husband’ song.
Opinions will differ about the settings and the relative merits of the two operas. There can be little doubt, however, that both orchestra and chorus are consistently impressive and that conductor Antony Hermus provides incisive direction throughout.