this was excellent .here's my Sydney Arts Guide review http://www.sydneyartsguide.com.au/operantics-presents-la-sonnambula-by-bellini-the-independent-theatre-north-sydney/
This was another extremely impressive production by Operantics, dazzlingly sung.
LA SONNAMBULA started began life in Paris in 1827 as a ballet, at the
height of a craze for stage works featuring somnambulism. Bellini’s
opera was first performed in 1831. Various stars who have performed in
the demanding roles include Pasta, Malibran, Callas, Pavarotti and
Sutherland. More recently there was the controversial production in 2009
at the Met in New York with French soprano Natalie Dessay. Opera
Australia’s most recent production was in 2010 with Emma Matthews.
LA SONNAMBULA is one of the bel canto operas, those early
nineteenth-century Romantic works by Bellini, Rossini, Donizetti and
their counterparts that emphasise virtuoso and exquisite vocalism as
distinct from concentrating on symphonic musical development or ‘’
naturalistic “ drama.
The rather light weight, silly, early Romantic plot concerns Amina
(Joelene Griffith), a Swiss village girl, betrothed to fellow villager
Elvino (Michael Butchard) . All is joyous in their idyllic pastoral
paradise until the arrival of a mysterious stranger, Count Rodolfo
(Christopher Nazarian), whose admiration of Amina makes Elvino jealous.
Elvino’s jealousy is further enflamed when Amina is discovered in
Rodolfo’s room at Lisa’s inn overnight. The confusion is eventually
happily resolved when it is demonstrated that Amina is in fact an
innocent sleepwalker, a somnambulist.
Minimalist in staging this version was quite traditional yet
extremely effective. Surtitles were handily provided on the back
projection screen. The set, apart from flowers entwined around the
handrail and some hand props, was generally indicated by projections of
charming atmospheric black and white illustrations – the village, Lisa’s
inn, the old mill and more. It would be worth your while to look at the
Independent Theatre’s Facebook page to discover the Sydney icons that
Amina spends time walking across in her sleep.
There was no orchestra rather instead a piano score version was used, magnificently played by Nathaniel Kong. Ian Warwick and Keiren Brandt-Sawdy
developed the small chorus as individual characters who gave finely
nuanced performances. Brandt-Sawdy conducted passionately and
energetically.
Our troubled heroine , vulnerable and naïve Amina was delightfully sung by Joelene Griffith
who has a bright, full timbre and terrific voice with gleaming top
notes and unforced agility in the demanding coloratura sections.
She showcased a lovely legato and sang with great ease and
expressiveness.
At the start (and end) she is all joyously bubbling ( “Come per me
sereno / oggi rinacque il di! / “How brightly this day dawned for me”).
The duets with Elvino ranged from exultant to strained and pleading once
he has broken off the wedding. The famous sleepwalking scene was tense
and terrific ( “Ah! non credea mirarti / sì presto estinto, o fiore / “I
had not thought I would see you, dear flowers, perished so soon” ) –
dance lovers will possibly pick up hints of the mad scene from Giselle
that was first performed in 1841.
Our shallow, rather undecided hero Elvino was sung by tall Michael Butchard an excellent tenor with matinee idol good looks who sent marvellous unforced phrases of song lyrically soaring.
Miller-Crispe as the scheming worldly inn-keeper
Lisa, in love with Elvino, was magnificent. Her seemingly heartbroken
aria opening the opera “Tutto è gioia, tutto è festa…Sol per me non non
v’ha contento / “All is joy and merriment… I alone am miserable” was
moving but we uncover her jealousy and wounded pride and see the
spiteful lengths she will go to throughout the opera. During the
villager’s tale of the strange phantom they have seen, describing it to
Count Rodolfo , Lisa plays the part of the ‘ghost’ with a red shawl (
scarf ?) over her head. Interestingly there is a loose end left at the
end of the opera as Lisa simply vanishes…
Darkly handsome, charismatic Christopher Nazarian as
Count Rodolfo was suitably mysterious and from his first entrance
dominated the stage with his powerful , magnificently thrilling voice.
He at first seems like a callous Lothario but when he spies Amina
sleepwalking he does not take advantage of her and tries to defend her ,
insisting on her innocence.
Alessio in love with Lisa was delightfully sung by Christopher Curcuruto. As Teresa , Amina’s supportive foster mother, Jermaine Chau showcased her excellent mezzo voice.
This production was a terrific showcase of
wonderful young opera talent .
Running time 2 hours 40 mins (roughly) including one interval.
The Operantics production of Bellini’s La Sonnambula played at the Independent Theatre, North Sydney for a brief season which concluded on October 2.
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