Luisa Miller

A fabulous opera http://www.sydneyartsguide.com.au/opera-australia-presents-luisa-miller-at-joan-sutherland-auditorium/ This Verdi opera is rarely performed , despite having a series of show stopping arias in both acts. It was first performed in 1849 and is based on Schiller’s play Love and Intrigue. It was written at the beginning of his ‘middle period ‘, which includes popular favourites like Il Trovatore and Rigoletto, and concludes with La Traviata. This version comes from the Opéra de Lausanne and is directed by Giancarlo del Monaco. The first thing you notice about this amazing production is William Orlandi’s extraordinary set which rather dominates the proceedings. A white sculptural domestic tableaux of an idealised family , complete with a fireplace with a bust of Verdi observing , is cantilevered in a coup de theatre to act as a reflective mirror of the action. ( Death overturned by all conquering love ?) The stage set is black and reflective with various scaffolding and sections that are adjusted as required. LUISA MILLER opens Evita like with what appears to be Luisa’s funeral. Luisa is lying on a huge bier garlanded with flowers .The candle carrying chorus enter sombrely garbed in Edwardian black .They mostly loomed ominously and sang in the shadows, but burst out explosively when necessary, as in the end of Act 1. Under the dynamic enthusiastic baton of Andrea Licata the orchestra played superbly, at times with great range and detail, at other times with enormous impact as in the concluding Act. The narrative begins with two young people in love- Luisa, who is the daughter of injured, retired soldier Miller, and Rodolfo, the local count’s son in disguise. (Shades of Rigoletto and Giselle) . Rodolfo passionately declares his love for Luisa but is forbidden to continue the liason by his domineering father, while , to save her father’s life, Luisa is menacingly forced into declaring that she ‘loves’ the Count’s sinister, villainous steward Wurm. Through the opera there is sniping at blue-blood snobbery whilst, at the same time, extolling the decent bourgeois life, and like several Verdi operas, such as Rigoletto and Don Carlos, the work also sharply critiques family life and love relationships. There are six main characters performed by a superb cast . The eponymous role of Luisa was sung by diva Nicole Car who some are calling the next Dame Joan Sutherland, freshly returned from wowing audiences and critics in London. Car is splendid in her first Verdi role, and brings dramatic force and power to the opera’s climactic moments, Her voice has agility, an elegant coloratura and a bright resonance combined with great dark liquid shades as well . The duets with her father as well as with her lover were a great highlight. As Rodolfo, Diego Torre was impassioned and fiery with great dramatic force. He has a huge voice but scaled it back at times to great effect, and his singing featured some glorious top notes. His show stopping aria Quando le sere al placido was magnificent , garnering much applause and bravos, and the final duet with Car was enthralling. Slovakian baritone Dalibor Jenis (who was Car’s 2014 Onegin in Sydney) was in refined , controlled glorious vocal form as Luisa’s injured, elderly father. His portrayal was very sympathetic. Jenis showed off his wonderful legato and powerful tone especially in his show stopping aria, Sacra la scelta è d’un consorte (The choice of a husband is sacred). He will do whatever he can to protect his beloved daughter. In this opera Verdi has provided two terrific roles for evil basses, one of the great composer’s penchants. American Raymond Aceto was wonderful as the complex, implacable Count Walter. While acknowledging that he was in thrall to the Devil, he was also nonetheless driven by a sort of patriarchal, authoritarian love. Aceto demonstrated a strong stage presence and his voice was superb- his aria Il mio sangue la vita darei was thrilling. Daniel Sumegi with his deep, resonating bass was inspired and creepy as the menacing Wurm, a character out for all that he can get. The duet, where each realise they may both be doomed, is yet another thrilling showstopper. Sian Pendry is great as ’ the other woman’, the widowed duchess who is deeply in love with her childhood friend, Rodolfo. Pendry is a picture of elegance in a very posh, stylish long black gown. She sings superbly, bringing her character sympathetically to life with a warm tone, strong focus and great expression. There are sadly only a few performances remaining of this rarely performed opera – try and catch it if you can. Running time – allow 3 hours including one interval. Opera Australia’s Production of LUISA MILLER is playing the Joan Sutherland Auditorium until the 29th February.