© A.Bofill
Giuseppe Verdi may be better known for the operas La Traviata, Aida, or Rigoletto; works that keep the world’s biggest opera houses full. But some of his lesser-known and less frequently performed works are equally exciting, and among these is Un Ballo in Maschera (A Masked Ball), which is ending a delightful run at the Liceu in the next few days.
A midlife composition that debuted with great success in 1859, Un Ballo is a musically mature and complex work with a constant stream of beautiful music, rather than one loaded with leaps from climactic aria to aria. The cast was more than able to keep the flow constant and at a high level of excellence. My only criticism was the production, which was odd, but not displeasing. It was, at times, illogical and some aspects were not very comprehensible. Why, for instance, did a projected woman’s face on the back wall of the stage weep tears of blood from time to time? It was very clearly intended as a dramatic allusion, but its meaning evaded me. The costumes also belonged to no period I could place; 20th-century suits and overcoats with Elizabethan ruffs, and a 21st-century dress with plastic raincoat. Odd though the whole thing was, it was not as in-your-face as modern directorial choices often are. It was just quietly odd. Although, why, oh why did a little red toy car go cruising around the stage at a critically dramatic moment. For that peculiarity in particular, I would truly love an explanation.
The two-tier stage with a tiny regal chair near the front was another odd decision. It served to give Beczala increased prominence, since he was the only person who ventured down to the lower level in the front. But its purpose seemed superfluous, especially when he came down simply to put a folded paper boat near the edge of the stage. I felt at times, that a crib book explaining the stage director’s choices would have been a nice addition to the programme notes.
Aside from the oddities, the singing was excellent throughout and the dynamic between the singers was exceptional. Piotr Beczala, who is fast becoming the most sought-after tenor on the opera stage, was superb as Riccardo. Not only was his voice exciting, but he has a personality that exudes life and energy. He conveyed a convincing variety of emotions, ranging from wit to romance and, in the end, tragedy.
Beczala was accompanied by Marco Caria, a young Italian baritone who is rapidly making a name for himself. In the role of Renato, he impressively descends from a warm friendliness to an icy, unforgiving hatred when he discovers his wife’s love for Riccardo. Both his acting and his singing were commendable. Keri Alkema in the minor but emotionally powerful role of Renato’s wife, was commendable, and Dolora Zajick superb as the gipsy soothsayer who foretells the tragic end to the story. Together, they made for a powerful quintet. Not forgetting of course, the orchestra, which under the baton of Renato Palumbo was rich and full of drama.
All in all, it was a thoroughly enjoyable performance. So, thank you Liceu, for an evening very well spent.
In regard to other notable operas, I urge anyone in town on Friday November 10th, to get a ticket for Brahms’ German Requiem, with internationally acclaimed soprano Mojca Erdmann and bass baritone José Antonio Lopez who, as well as performing in opera, sings in concert halls all across Europe.
And from November 28th until December 15th, Wagner will be back in town. The excitingly passionate Tristan and Isolde will be sung by Stefan Vinke and Irène Theorin, both of whom light up the stage with complete effortlessness.