Archive for Welsh National Opera

Le Vin herbé

Posted in Opera with tags , , on February 17, 2017 by telescoper

Last night I went to the Wales Millennium Centre in Cardiff for the opening night of Welsh National Opera’s new production of Le Vin herbé  by Swiss-born composer Frank Martin. This isn’t a work with which I was previously familiar so I wasn’t sure what to expect, but then that’s why I usually particularly hard to get to see departures from the standard repertoire. It’s not that I’m at all bored with Mozart, Puccini et al but that it’s always good to keep an ear open for new things.  In fact there is only one performance of this piece in Cardiff this year before it goes on tour. Fortunately I was able to make it.

Le Vin herbé is based on the story of Tristan and Iseult ; the title refers to the potion that the two lead characters accidentally drink which makes them fall in love and thus betray King Mark of Cornwall, who is Tristan’s uncle and Iseult’s husband-to-be. Naturally tt all ends in disaster, with the two lovers both dying. But if the story makes you think of Wagner’s epic operatic telling of this legend, Tristan und Isolde then you need to think again, as this is a very different piece. Le Vin herbé is a much more intimate work, with a relatively small case and a band of just eight musicians (a piano and seven string players) who, in this production, were at centre stage throughout the performance rather than in the pit. The main characters are played by tenor Tom Randle (Tristan) and soprano Caitlin Hulcup (Iseult) – both of whom were brilliant – and some of their lines are also sung by the chorus and there are also solo storytellers to provide bits of the narrative. The set and staging is very minimal. In fact it’s more of a chamber oratorio than an Opera. Also the entire performances lasts under two hours, with no interval. Quite a lot shorter than Wagner’s version!

I think the instrumental music by Frank Martin is very fine indeed, and very well played by the musicians directed by James Southall, and the principals and chorus were in good voice. Having said that I think Martin’s writing for voices is less successful. The vocal lines consciously evokes mediaeval plainsong, which works quite well for the chorus but makes it difficult for the soloists to generate any melodic drive. It’s not helped by the libretto either, which is rather dry and undramatic. On the way home from the performance I couldn’t help wondering what it might have been like had the text been in mediaeval Latin! The staging was at times effective: some of the scenes between Tristan and Iseult were very moving, but the stage was too busy and confusing when the whole chorus got involved.

This probably sounds very critical, but I don’t mean it to be. There’s much to enjoy in this production, so I’d encourage you to go and form their own opinion. It’s on tour in Bristol, Milton Keynes, Llandudno, Plymouth and Southampton. Last night’s performance got a very warm reception from a pretty full house which, for an unusual work like this, is a very good sign.

La Bohème at WNO

Posted in Opera with tags , , , on January 30, 2017 by telescoper

So, to get away from the world for a short while I went on Saturday to the opening night of the new season by Welsh National Opera at the Wales Millennium Centre in Cardiff – a tale of poverty and doomed love, ending in a tragic death. Well, what did you expect from an Opera, a happy ending?

I suppose the story of La Bohème will be familiar to anyone with even a passing interest in Opera, but I’ll give a quick synopsis anyway.  It’s a boy-meets-girl love story, of course. The boy in this case is the poet Rodolfo (Dominick Chenes) and the girl, actually named Lucia but known  as Mimi (Marina Costa-Jackson).  The setting is Paris around 1830, and the poet and his painter friend Marcello (Gary Griffiths) are starving and freezing, as it is winter and they have no money.  Act I is set on Christmas Eve, but the two friends have nothing to eat and nowhere to go. Fortunately, their musician friend Schaunard (Gareth Brynmor John) turns up with money and provisions. After various comings and goings – including the arrival of philosopher Colline (Jihoon Kim) and an untimely visit from the landlord (Howard Kirk) everyone but Rodolfo leaves to spend Christmas Eve out on the town; Rodolfo has to finish a piece for a journal, and promises to join them when he is done. However, he is interrupted by the arrival of Mimi, who lives nearby and whose candle has gone out. It’s love at first sight…

The later stages of Act I are built around Rodolfo’s aria Che Gelida Manina (“your tiny hand is frozen”) and Mimi’s Mi Chiamano Mimi. These beautiful songs follow one another in quick succession, and are then rounded off with a wonderful duet O Soave Fanciulla  in a manner guaranteed to melt the stoniest of hearts. And, before you ask, yes I did cry again. Just a little bit. I don’t think anyone noticed.

But it’s not just the ravishing music that makes this passage so special, it’s also Puccini’s gift as a story-teller: after the two arias by Rodolfo and Mimi, the audience knows everything they need to know about these characters. It’s a great example of why I think Puccini is a far greater writer of Opera than, say, Wagner. Puccini understood much better than Wagner how to vary  pace and colour  without allowing the story to bogged down, and he knew exactly how to use his big tunes to maximum dramatic effect (i.e. without excessive repetition). In fact, La Bohème is in four acts, but its running time is just about 2 hours and 15 minutes, packed full of gorgeous music and compelling drama. It’s a supreme example of Puccini’s artistry as a composer of Opera.

Anyway, back to the plot. Act II finds Rodolfo and Mimi joining in the party started by Marcello and his buddies. There’s a huge contrast here between the dingy garret in which Act I is set, as this is set in the Latin Quarter of gay Paris (with a few drag queens in this production thrown in to make the point). Marcello gets off with the object of his desire, the coquettish Musetta (Lauren Fagan), and all seems well with the world as we go into the interval.

In Act III we find things have changed. Rodolfo’s love for Mimi has soured and, overcome by jealousy and suspicion, he has left her. Clearly unwell, Mimi wanders around looking for Rodolfo and he hears her coughing. They clearly still love each other, but find it difficult to live with each other. If Opera were Facebook they would both have “It’s complicated” on their status.

The last act finds us back in the garret, Rodolfo and Mimi having separated. But Mimi has been wandering the streets in the freezing cold and turns up, clearly gravely ill. Rodolfo’s friends quickly pawn some meagre possessions and Marcello and Musetta rush out to buy medicine and summon a doctor. They return with the medicine but, before the doctor arrives, Mimi dies.

People say that this is a romantic opera but it’s a pretty bleak story when you think about it. The lovers’ happiness is brief and it all ends in despair and death in surroundings of poverty and squalor. That’s what Opera Verismo is all about. In this production Mimi really does looks ill at the end, making the ending all the more heartbreaking.

All the principals were very good. I thought the voice of Dominick Chenes sounded a little thin at the start and was worried that he might have to force it during the big arias, but he warmed up magnificently. Lauren Fagan was a very sassy as the “tart-with-a heart” Musetta. The other person who deserves a particular mention was the bass Jihoon Kim as Colline, who has a superb voice.

And a word for the production. This revival of Annabel Arden’s design – slightly different from the last time I saw it, with a different case, five years ago – managed to bring fresh elements to what is basically a straightforward interpretation of the Opera. The visual effects, such as the animated snow,  were clever but not intrusive. There was no attempt to translate the action into a different period or location nor was there an attempt to preach about disease as a metaphor for moral failings. In this respect it’s very faithful to what I think Puccini’s intentions were, i.e. to let the audience make their own mind up about what message they want to take away. The only slight departure I spotted was that in Act I Mimi actually blows her own candle out deliberately in order to get Rodolfo to light it again. Methinks she’s a bit more forward than usual in this production.

This was the first performance of this run of La Bohème. If you love Opera and can get to Cardiff, then do go and see it. It’s very special.

P.S. I was a little amused by the image of the skyline of 19th Century Paris projected in front of the curtains before the show started. It did much to set the atmosphere, but I really don’t think those TV aerials should have been there…

 

Mahler: Symphony No. 2 (“Resurrection”)

Posted in Music with tags , , , , , , , , , , on October 21, 2016 by telescoper

Last night I was at St David’s Hall in Cardiff yet again, this time for a piece that I’ve never heard in a live performance: Symphony No.2 (“Resurrection”) by Gustav Mahler. This is a colossal work, in five movements, that lasts about 90 minutes. The performance involved not only a huge orchestra, numbering about a hundred musicians, but also two solo vocalists and a sizeable choir (although the choir does not make its entrance until the start of the long final movement, about an hour into the piece). In my seat before the concert I was particularly struck by the size of the brass section of the orchestra, but it turned out to be even larger than it looked as there were three trumpets and three French horns hidden offstage in the wings for most of the performance – they joined the rest of the orchestra onstage for the finale.

The musicians involved last night were the Orchestra and Chorus of Welsh National Opera, and the Welsh National Opera Community Choir, conducted by Tomáš Hanus who is the new music director of Welsh National Opera; this was his St David’s Hall debut. Soloists were soprano Rebecca Evans (who was born in Pontrhydyfen, near Neath, and is a local favourite at St David’s Hall) and mezzosoprano Karen Cargill (making her St David’s debut).

I don’t really have the words to describe what a stunning musical experience this was. I was gripped all the way through, from the relatively sombre but subtly expressive opening movement through the joyously dancing second movement that recalls happier times, the third which is based on a Jewish folk tune and which ends in a shattering climax Mahler described as “a shriek of despair”, the fourth movement is built around a setting of one of the songs from Das Knaben Wunderhorn, sung beautifully by Karen Cargill who has a lovely velvety voice very well suited to this piece, which seems more like a contralto part than a mezzo. The changing moods of the work are underlined by a tonality that shifts from minor to major and back again. All that was wonderfully performed, but it was in the climactic final movement – which lasts almost half an hour and is based on setting of a poem mostly written by Mahler himself, sung by Rebecca Evans, that what was already a very good concert turned into something truly remarkable.

On many occasions I’ve written about Welsh National Opera performances in the opera theatre and in the course of doing so I’ve very often mentioned the superb WNO Chorus. They weren’t called upon until the final movement, but as soon as they started to sing they lifted the concert to another level. At first they sang sitting down, which struck me as a little strange, but later on I realised that they were holding something in reserve for the final moments of the work. As the symphony moved inexorably towards its climax I noticed the offstage brass players coming onto the stage, the choir standing up, and the organist (who had been sitting patiently with nothing to for most of the performance) took his seat. The hairs on the back of my neck stood up in anticipation of a thrilling sound to come. I wasn’t disappointed. The final stages of this piece are sublime, jubilant, shattering, transcendent but, above all, magnificently, exquisitely loud! The WNO Chorus, responding in appropriate fashion to Mahler’s instruction to sing “”mit höchster Kraft” combined with the full force of the Orchestra and the St David’s Hall organ to create an overwhelming wall of radiant sound. Superb.

Mahler himself wrote of the final movement: “The increasing tension, working up to the final climax, is so tremendous that I don’t know myself, now that it is over, how I ever came to write it.” Well, who knows where genius comes from, but Mahler was undoubtedly a genius. People often stay that his compositions are miserable, angst-ridden and depressing. I don’t find that at all. It’s true that this, as well as Mahler’s other great works, takes you on an emotional journey that is at times a difficult one. There are passages that are filled with apprehension or even dread. But without darkness there is no light. The ending of the Resurrection Symphony is all the more triumphant because of what has come before.

The end of the performance was greeted with rapturous applause (and a well-deserved standing ovation). Congratulations to Tomáš Hanus, Karen Cargill, Rebecca Evans and all the musicians who took part in last night’s concert which is one that I’ll remember for a very long time.

P.S. You might be interested to know that St David’s Hall has been ranked in the world’s Top Ten Concert Halls in terms of sound quality. Those of us lucky enough to live in or near Cardiff are blessed to have such a great venue and so many superb great concerts right on our doorstep!

P.P.S. The concert got a five-star review in the Guardian.

The Merchant of Venice at Welsh National Opera

Posted in Opera with tags , , , on October 3, 2016 by telescoper

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Last Friday (30th September 2016) I got another fix of opera in the form of a new Welsh National Opera production of The Merchant of Venice by André Tchaikowsky at the Wales Millennium Centre in Cardiff Bay (above; the people in the bottom left of the picture were having an important discussion about the location of the nearest Fish & Chip shop).

The Opera sticks very closely to Shakespeare’s play of the same name, even to the extent that the libretto uses some of the original text verbatim. That creates the opposite problem to that which I mentioned in my review of Verdi’s Macbeth. In Verdi’s case the text was excessively abridged with many memorable passages omitted entirely, but in this case the Opera struggles to under the weight of so many words. It’#s not just that the Opera has to be rather long in order to accommodate so much of the original play,  more that Shakespeare’s verse has a compelling rhythm to it that echoes but also amplifies the cadences of natural English speech. Unless it is done exceptionally well, setting the words to music actually detracts from the poetry rather than adding anything to it. Take for example, Portia’s wonderful speech in the courtroom scene (Act IV of the play; Act III of the opera):

The quality of mercy is not strained;
It droppeth as the gentle rain from heaven
Upon the place beneath. It is twice blest;
It blesseth him that gives and him that takes:
‘T is mightiest in the mightiest; it becomes
The throned monarch better than his crown:
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthronèd in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God’s
When mercy seasons justice. Therefore, Jew,
Though justice be thy plea, consider this,
That, in the course of justice, none of us
Should see salvation: we do pray for mercy;
And that same prayer doth teach us all to render
The deeds of mercy. I have spoke thus much
To mitigate the justice of thy plea;
Which if thou follow, this strict court of Venice
Must needs give sentence ‘gainst the merchant there.

These words have music to them in their own right, a music that, frankly, I preferred to what Tchaikowsky added which seemed to distort their proper metre.

I’m not saying that I didn’t like the music; the score is often highly effective. Rigorously atonal – in fact somewhat reminiscent of Alban Berg – it generates great psychological tension and carries considerable emotional force. I just think it was a mistake to take such a literal approach to Shakespeare’s text.

That said, there is a great deal to savour in this production. The staging is extremely well done, with each scene having a completely different look and feel, and the principals sang their roles extremely well. Lester Lynch was a particularly fine Shylock, managing to transcend the stereotypical aspects of his character with a performance of great nobility. The antisemitism of Shakespeare’s play is certainly present in the Opera,  but casting Shylock as a black actor turns it into a more general statement about the evil of prejudice. The play only hints that the relationship between the two men Antonio and Bassanio is more than just a friendship, but the Opera clearly suggests that there is a sexual element to it. Antonio is left alone and distraught at the end, as Bassanio abandons him for Portia, but sympathy for him is limited by his awful behaviour towards Shylock. That suggests (at least to me) that the abuse Antonio directs at Shylock is born of his own internal conflict. At any rate he ends the Opera as he starts it, on a psychiatrist’s couch.

A word must be said about Antonio. The role (for a counter-tenor) was supposed to be sung by Martin Wölfel but he was indisposed by laryngitis. In stepped Feargal Mostyn-Williams at very short notice in what must be an immensely demanding role. I thought he was very good indeed. He held the stage well and though he struggled to project over the orchestra at the start (presumably due to nerves) he grew into the role very well.

This is a production that’s well worth seeing, and I enjoyed it a lot despite the difficulties I tried to explain above. Sadly there were only two performances in Cardiff, so if you want to see it you’ll have to catch it on tour or next summer when it is to be staged at the Royal Opera House in Covent Garden.

 

Verdi’s Macbeth at Welsh National Opera

Posted in Opera with tags , , , on September 16, 2016 by telescoper

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Last night I saw the new Welsh National Opera production of The Scottish Opera Macbeth by Giuseppe Verdi at the wonderful Wales Millennium Centre (above), resplendent in the sunshine of a late summer evening.

The original version of this opera was first performed in 1847, quite early in Verdi’s career, but was signicantly revised for a revival about twenty years later. Verdi’s two other Shakespeare-inspired operas, Falstaff and his masterpiece Otello, were written after a gap of about forty years after Macbeth, perhaps because Verdi discovered in Macbeth how difficult it is to adapt an entire play, especially one by Shakespeare, into an opera. The basic problem is that the text is far too long, so has to be drastically abridged to create a workable libretto. Macbeth is one of Shakespeare’s shorter plays in terms of word count, but it does have many changes of location. You can see the problems this posed for Verdi and his librettist Francesco Maria Piave, because the opera sometimes feels rather disjointed. Watching last night I sometimes felt that it was like watching the plot unfold on fast-forward. Another problem is that Macbeth is that many famous speeches have be truncated or cut out altogether. I’m quite familiar with the play, having studied it at school, but until last night had never seen the Opera, so it was a bit of disappointment to find Macbeth’s great soliloquy after the death of Lady Macbeth chopped to only a couple of lines. The same is the case with Lady Macbeth’s great speech upon the arrival of Duncan (“the Raven himself is hoarse…).

On the other hand, there is Verdi’s music, which provides a dramatic landscape of its own and smooths over some of the limitations imposed by the operatic form.

But enough of the problems with the Opera as compared to Shakespeare’s play and back to last night’s performance. This production had its first night last Saturday to relatively mixed reviews. I have to say that I thought it was superb. The action is set in the modern Scotland of a dystopian parallel universe, with a governing elite dressed in kilts and smart tweeds kept in power by armed paramilitaries in body armour, and assorted ruffians in shell suits and bobble hats. The Three Witches who prophesy that Macbeth is to be King are in this production actually three groups of seven or eight, each group having its own distinctive costume, their multiplicity producing a disturbingly scary effect. They also sang wonderfully, as did the rest of the truly outstanding Chorus of Welsh National Opera who were on blistering form.

wno-macbeth-wno-chorus-witches-photo-credit-richard-hubert-smith-9482

Members of the WNO Chorus as one of the three groups of Witches

Some reviewers found the staging unnecessarily brutal, which seems to me to be a rather silly view to take. This is Macbeth, not Mary Poppins! But in any case this isn’t the gorefest that I’ve seen in some theatrical versions of the play. In fact, the most bloodthirsty acts happen offstage. The exception is the assassination of Banquo who is stabbed and suffocated with plastic sheeting in front of the audience; his subsequent sudden appearance as a ghost in the famous banquet scene, his head still covered with bloody plastic, is accomplished with a smart piece of theatrical misdirection, and is startlingly effective.

When I read Macbeth at school it struck me that by far the most interesting character in the play was Lady Macbeth. Although her husband is a brave warrior on the battlefield he’s in many ways a bit of a drip. She has power over him and it is her that drives him on to his ultimate destruction. In this production Lady Macbeth (played by Mary Elizabeth Williams) is portrayed as a kind of cross between Imelda Marcos and Elena Ceaușescu (complete with a vast collection of fur coats and expensive shoes), the wife of a tyrannical leader unaware of the inevitability of his downfall. The staging of Acts III and IV plays on the obvious parallels with other historical dictatorships.

Mary Elizabeth Williams as Lady Macbeth dominated the first two acts of the play, her very fine voice (great power and lovely mezzo tones) matched by a powerful stage presence. That she overshadowed baritone Luis Cansino as Macbeth is not a criticism – I think it should be that way. Lady Macbeth does not appear at all in Act III and only once in Act IV when we see she has already lost the plot along with her marbles, sleepwalking and possessed by hallucinations. Soon after that, she dies (offstage), aand Macbeth himself surrenders to his fate at the hands of Macduff. At the very end, though, after his death aria, and just before the curtain falls, it is Fleance (the young son of the murdered Banquo and the future King) who cuts the throat of the dying Macbeth.

Anyway, if you have read the reviews of this production then don’t let them put you off. I thought it was a very provocative and interesting take on a familiar story and well worth going to see unless you only like your opera bland and formulaic.

Cav/Pag and WNO

Posted in Opera with tags , , , , , on June 7, 2016 by telescoper

Well, I’m back in Brighton after a short break either side of my nth birthday (where n→∞). As is traditional on such occasions I spent the evening of the day in question at the Wales Millennium Centre for a night at the Opera:

WNO

On the bill for Saturday night were Cavalleria Rusticana and Pagliacci, two short operas written (respectively) by Pietro Mascagni and Ruggero Leoncavallo. Both works are in the verismo tradition of late 19th Century Italian opera and have central themes of love, jealousy, betrayal revenge and murder. So idea fare for a birthday treat!

The “Cav/Pag” package is quite a familiar pairing to opera goers. They weren’t actually written to be performed together, though it is believed that Leoncavallo wrote his piece Pagliacci in response to the success of Cavalleria Rusticana. The compositional style and orchestration are not dissimilar and often the principals are played by the same singers. The latter was the case with Saturday’s production, at least in terms of the two male roles: Gwyn Hughes Jones (shown below as Canio in Pagliacci; he also sang Turiddu in Cavalleria Rusticana) sang both tenor parts, while David Kempster (baritone) played Alfio (Cav) and Tonio (Pag). Both were excellent throughout.

Pagliacci.GwynHughesJones(Canio).Photocredit-BillCooper1244a

These two productions of this combo differ very much in their look and feel. Cavalleria Rusticana is beautifully staged, in a conventional 19th Century rural Italian setting. The lighting is particularly impressive: the opening looks like a scene from a painting by a Grand Master. The excellent chorus of Welsh National Opera is very much to the fore, especially in the famous Easter Hymn, and the principal soprano Camilla Roberts sang the role of Santuzza with great depth of expression. Carlo Rizzi conducted the Orchestra of Welsh National Opera.

Pagliacci is given a more modern setting – costumes were generally around the 1950s – but still set in Italy. The set is much plainer and the lighting harsher. The chorus has less to do in terms of singing, but provides colour and movement to the drama. Although the two male principals were good I felt the cast overall was weaker. Meeta Raval (Nedda) sang her part well enough, and got some good laughs in the moments of comedy, but she didn’t have the emotional depth needed to make her part really come alive. Gyula Nagy (as Nedda’s lover Silvio) also sang well enough, but really needs to take some acting lessons..

The big set-piece in Pagliacci is Vesti La Giubba, a powerfully emotional tenor ara which never fails to move. Enrico Caruso’s version of this was the hit record of its day.

Although there were some shortcomings it was still a very enjoyable evening of music drama. Indeed it was the last night in Cardiff for this season, Welsh National Opera’s 70th. The company’s debut when it gave its first performance – as an amateur organisation – on 15th April 1946, was a double bill of Cavalleria Rustica and Pagliacci

I’d therefore like to end by wishing Welsh National Opera a very happy birthday and send my deepest thanks for providing me with so many hours of pleasure through their performance. Long may they continue!

 

 

I Puritani – Welsh National Opera

Posted in Opera with tags , , , , , on September 12, 2015 by telescoper

After spending yesterday in Cardiff at an External Advisory Panel meeting for the School of Physics & Astronomy, I’m now back on Sussex University campus to greet this year’s new new intake of students who begin arriving this weekend. Now, in between two Welcome Events this afternoon I just have time to do a quick review of last night’s entertainment in Cardiff. The meeting in Cardiff had been in my diary for a while but I only realised last week that Friday night was the opening performance of a new Welsh National Opera production of I Puritani by Vincenzo Bellini. Fortunately, I managed to get a last-minute ticket. I’m really glad I did because it was wonderful.

I Puritani is set in England during the Civil War and revolves around Elvira (soprano, sung by Rosa Feola), who is a Protestant, and in love with Arturo (tenor, Barry Banks), who is Catholic. The trouble is that Elvira’s father has already promised her hand in marriage to Riccardo (David Kempster). The thought of being unable to marry Arturo sends Elvira into a deep depression but, seeing this, her father relents and gives permission for her to marry her true love. She responds to this news in rapturous fashion; her future happiness seems assured.

Unfortunately events intervene. Arturo takes pity on a woman suspected of being a Stuart spy and about to be condemned to death. In fact it turns out that the “spy” is Queen Henrietta Maria, widow of Charles I. Arturo struggles with the conflict between love and duty (a familiar operatic theme) then, on the eve of his wedding, he leaves in order to take Henrietta Maria away to safety. The shock of discovering that her beloved has gone deranges Elvira’s mind, and the classic Bel Canto “Mad Scene” ensues. Arturo does return, eventually, but not until Act 3 by which time he has already been sentenced to death for treason and Elvira is beyond help. Riccardo, encouraged by a mob, prepares to carry out the execution. A herald appears, announcing victory for the Protestant side in the Civil War and declaring a general pardon on all Royalist prisoners. It is too late to save Arturo, although Elvira’s madness has deepened to such an extent she doesn’t even realised her would-be husband is dead.

That brief synopsis of the plot doesn’t do any justice to what I think is a consummate piece of music drama, and certainly one of the heights of the bel canto period. There’s a superb balance of the different vocal combinations and wonderfully expressive music throughout. There are trademark bel canto coloratura passages, but it never feels forced or showy in this opera. The momentum never flags, either. It might surprise those who don’t like bel canto opera that, for example, Richard Wagner was a particular admirer of Vicenzo Bellini. Incidentally, I Puritani was Bellini’s last Opera; he died suddenly in 1835, at the age of just 34, the year it was first performed. It was acclaimed by the critics way back then, and is a fitting swansong for a truly great operatic composer.

The new production is initially set in the Northern Ireland of 1970s, with Elvira dressed in a blue twin set reminiscent of Margaret Thatcher. The protestants were depicted as Ulsterman, complete with Orange regalia and bowler hats. But there is a surprise in store. As Elvira begans to lose her mind, an identically dressed (mute) doppelganger appears on stage. The real Elvira then leaves to return almost immediately dressed in 17th Century attire. The Orangemen also reappear dressed in the black clothes with white ruffs and cuffs of Puritans. Not only does this make a point about the three hundred years of sectarian madness in Northern Ireland, but it also manifests Elvira’s depersonalisation, i.e. her detachment from reality. The portrayal of Elvira’s madness in this Opera is sympathetic but unflinching, and deeply moving.

The principals were all excellent, but I can’t help singling out Rosa Feola, who sang and acted beautifully, and Barry Banks who tackled the immensely demanding tenor part with real gusto. The WNO chorus were magnificent, as they usually are in fact. Conductor Carlo Rizzi had the Orchestra of Welsh National Opera on top form too.

All in all, a wonderful night at the Opera. Congratulations to WNO for having the courage to put on this rare masterpiece. This is as good as anything I’ve seen at the Wales Millennium Centre, and that’s a pretty strong endorsement Do go and see it if you can!