Rossini : La Donna del Lago
Royal Opera Chorus
Orchestra of the Royal Opera House
Michele Mariotti
You get evenings like this sometimes, when you can't say you're sorry you went, because the musical side of affairs was so good, but really the best thing to have done would have been to close your eyes and simply listen. Do that in a cinema, though, and the chances are strong you'll fall asleep at some point, given the environment, so you just have to put up with the visuals for the sake of the singing. To be fair, John Fulljames's production wasn't completely offensive - though it got pretty close to it at one point, with Rodrigo's Highland warriors being depicted as a bunch of thuggish rapists - but it was dingy, plodding and occasionally ludicrous. Thank goodness for the vocal plateau.
This was one of the strongest casts I've seen in an opera in a while, not a weak link anywhere, ranging from sound and assured comprimario parts, to truly outstanding principals, ably supported by a robust chorus (and they have a lot to do in this opera) and a bright and engaging orchestra. Top of the heap, of course, was Joyce DiDonato in the title role, a wonderful, endless flow of song, warm and expressive, the fioriture of the vocal writing never seeming gratuitous, and both her singing and her presence gathering strength all along to culminate in a breath-taking "Tanti affetti", with Mariotti and the orchestra doing a marvellous job with that lovely, undulating accompaniment.
It's one of the (charming) absurdities of opera seria that the heroine's love interest turns out to be a 'breeches' role - that is, a woman playing a male part - when there are also two perfectly good tenors vying for her attention. Daniela Barcellona's dark mezzo contrasted well with DiDonato's clearer timbre, and she also looked fairly convincing as Malcolm, which was a definite plus. However, watching Juan Diego Flórez's Uberto paying fervent court to DiDonato's Elena, and singing with his usual miraculous precision of articulation, both vocal and verbal, you have to wonder what's going through the girl's head. Colin Lee (Rodrigo) was being forced by the production to play the heavy (which Rodrigo really isn't meant to be), but he held his own impressively enough. Ideally, he should have a little more heft in the lower register for this role - going by Rossini's original casting, Rodrigo was a slightly heavier, darker-toned 'baritenor' - but the Act 2 Terzetto with Flórez and DiDonato was more than sufficiently electrifying.
So, a bit of a sigh for the production, but full marks for the music.
[Next: 1st June]
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