Un Ballo in Maschera, SOH, Feb 20, 2008

Opera Australia's Ballo falls short by Sarah Noble

Verdi: Un ballo in maschera Opera Australia Sydney Opera House 20 February 2008

UN ballo in maschera is the ultimate grand opera, embodying both the genuine conventions of the genre and the popular, slightly ridiculous stereotype. Within its brisk plot, it incorporates all the elements some might imagine are to be found in every opera - royalty, political intrigue, lovers' trysts, disguises, vengeance, murder. The subject is romanticised history. Gustav III of Sweden loves Amelia, and is loved in return. But Amelia is married to Anckerstroem, Gustav's best friend and Secretary of State. When Anckerstroem discovers the pair's mutual affection, he joins a conspiracy to kill Gustav, ultimately stabbing the king at the titular masked ball. Gustav survives just long enough to pardon his assassins and assure Anckerstroem of Amelia's purity. In lesser hands, such a work might become mere self-caricature. Verdi's treatment, however, ensures that while UN ballo in maschera embodies those conventions, it also enlivens them. It follows a formula, but does so with concentrated energy and incredible skill, and therein lies its appeal. Ballo is excellent but not extraordinary, and thus requires something extraordinary in its execution to truly succeed. A superlative cast, or a fascinating production; or even better, both. Opera Australia's UN ballo in maschera unfortunately provides neither. Maestro Licata's passion can't be doubted, but the performance he leads lacks shape and rhythmic drive. The orchestral palette seems uncharacteristically limited - even the seriously spooky music which introduces the satanic fortune teller Ulrica lacks impact, hard to believe given Verdi's hugely atmospheric writing for the scene. The first act in particular was marred by a lack of cohesion between orchestra and soloists. John Cox's production, directed for revival by Luise Napier, is similarly uninspiring, offering little insight or character development. The opening scenes hint at a deeper interpretation - Gustav's throne room is overshadowed by glimpses of Ulrica's lair which loom behind, a hint of his increasingly threatened position. However, later scenes fail to follow this notion through effectively, and the singers are left relatively directionless. Michael Stennett's impressive costume designs are perhaps the most vivid aspect of the production - otherwise the result is disappointing.

Verdi specialist Dennis O'Neill sings Gustav. This style is evidently in O'Neill's blood and he responds passionately to the role's declamatory climaxes. As an authoritative leader, his singing is compelling. But Gustav is also supposed to be madly in love, and here O'Neill is far less convincing. Coupled with a repertoire of almost cartoonish stock gestures, his shouted expressions of tender feeling are difficult to credit - his facial and vocal expression in these moments bearing little resemblance to the words being sung. Michael Lewis' Anckerstroem is a more persuasive characterisation, his patrician baritone conveying subtler authority. Nicole Youl sings Amelia with some beauty but little electricity. Even in her highly dramatic graveyard scene, surrounded by swirling mist and the corpses of executed criminals, she seems strangely detached. Her performance intensifies for the final act, however, and "Morro, ma prima in grazia" is quite moving. Mezzo soprano Bernadette Cullen, by contrast, makes much of the role of Ulrica, glorying in the fortune teller's doom-laden and eerie music. Her dark, austere sound is suitably scary, and she makes liberal and gratifying use of her chest register. Natalie Jones brings sweetness of tone and a sense of fun to the exuberant page Oscar, but her coloratura is laboured and lacks sparkle. Among the supporting cast, Andrew Moran is a standout as a bright-toned sailor, and Jud Arthur brings his usual suave, expressive baritone and appealing stage presence to the role of the conspirator Count Ribbing. The chorus sings well as always, but seems less at ease in this idiom than elsewhere. UN ballo in maschera isn't the most celebrated of Verdi's operas, and neither should it be. However, it is top shelf Verdi just the same, and marks an important point on the path to the greatest of his masterpieces. It is a work of conventional excellence laced with hints of utter genius, and needs a performance to match. Despite intermittently valiant attempts, Opera Australia's production ultimately falls short.

Text © Sarah Noble Photos © Branco Gaica