Melbourne Opera’s Puccini celebrations continued at the Athenæum this weekend with a concert performance of Suor Angelica and selections from Tosca, Manon Lescaut, Edgar, Madama Butterly and, inevitably, Turandot – how could you possibly end a Puccini Gala concert on any other note than a sustained “Vincerò”?
For good measure, we were favoured with Puccini’s most familiar aria not only once, but twice. For the last item on a generous program, tenor Michael Lapiña had given a rousing account of “Nessun Dorma”, his voice clear, ringing and focussed; then our exuberant compere, Steven Smith, announced that having three tenors on stage demanded an encore of same – a popular decision in keeping with a standard practice established by those most famous “three tenors”. It seemed a risky choice given that Smith is singing the baritone role of Schaunard in Melbourne Opera’s production of La Bohème. Smith has long been one of my favourite tenors and I have been disappointed that we have not had the opportunity to hear him so often of late. His performance of Schaunard was impressive, his voice slightly darker and even richer, with an easy command of the upper register. In what seemed to be an unrehearsed encore, he and Lapiña were joined by Boyd Owen for a stirring display of tenor might.
From his initial search for spotlight until that final heroic note, Stephen Smith was a major animating factor. His reaction when Lee Abrahmsen was stricken with a coughing fit during her opening aria, “Sola perduta abbandonata” from Manon Lescaut, cheerfully smoothed over difficulties so that she could repeat the aria and give of her best: a sensitive interpretation, deeply felt and featuring those glorious high notes. A true professional, her composure and friendly relationship with her audience was admirable as she sang “Un bel di” and the duet “Vieni la sera” duet from Butterfly with Lapiña, her voice soaring in those ecstatic waves of passion. Unlike some sopranos with “big” voices, her singing of Tosca’s “Vissi d’arte” was not overdramatised but sung with good legato line and attention to dynamic detail.
The one item (and opera) that most people had not even heard of, let alone heard ,was an aria from Edgar. Boyd Owen’s fine account would have convinced at least some of the audience that Edgar might be an opera worth reviving.
To open the second half of the program Christopher Hillier bounded onto the stage to sing Scarpia’s role in the “Te deum” from Tosca with the chorus. His entrance accorded with the energy and focus of all his performances, and his ability to inject a menacing snarl into the timbre of his burnished baritone was most effective. The ”Te Deum” was the ideal way to resume the concert after interval as it echoed the beginning of the performance. As with Suor Angelica it is has a religious setting, uses a chorus and features the chiming of church bells at the outset. It was a very tidy piece of programming indeed.
One of the most notable aspects of this performance was the quality of the orchestra. From the first notes, the sound was warm and well balanced, with some excellent work from solo violin, winds and brass players. Raymond Lawrence’s conducting was elastic and thoughtfully shaped, building to climaxes in broad sweeps without loss of momentum.
The lineup of young – and not so young – nuns showcased the depth of talent Melbourne Opera nurtures. All singers: Leah Phillips, Lili Ward, Caitlin Weal, Emily Szabo, Breanna Stuart, Belinda Dalton, Livia Brash, Shakira Dugan and Amanda Windred gave worthy performances. Livia Brash was particularly impressive as La Zelatrice (The Monitor), her strong soprano full, rich and rounded. Suor Angelica is one of the few operas in which the chorus is basically comprised of women, and the Melbourne Opera Chorus and soloists together were a real treat to hear.
It was difficult to believe that we had the same soprano singing the ultra-flamboyant Musetta and the demure yet passionate Suor Angelica. Was that really Helena Dix? Her dramatic versatility was coupled with complete vocal command of the role, including that treacherous high, sustained last note of the main aria. Her stillness and attention to fine detail were most effective.
As La Zia Principessa, Deborah Humble provided some quite literally spine-tingling (and spine-chilling) moments in her confrontation with Dix’s Angelica. It was concentrated menace powerfully delivered. I don’t think it is only just because we have heard Humble shine in Wagnerian roles that I heard a hint of Wagner in the orchestra at one point.
It is well worth going to the final performance of the Gala on Wednesday just to experience this scene and the final tragic ending alone; it was concentrated emotion at its operatic best.
Photo credit: Robin J Halls
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Heather Leviston reviewed “Puccini Gala, including Suor Angelica”, presented by Melbourne Opera at the Athenæum Theatre on September 22, 2024.
