A Masked Ball by Giuseppe Verdi

Guildford Opera Company decided to set A Masked Ball in an unspecified European court at the start of the 20th century, a time when empires were crumbling and a long-established way of life was about to disappear. It is, of course, the tale of intrigue, rebellion and assassination which originally fell foul of censors in Naples and Rome, and so was set in Boston, Massachusetts! It is also a tale of desire, love, moral rectitude and jealousy. All human life is here!

Well-designed and informative, the programme provided, interestingly, a large-script synopsis – great to be able to read it at speed in dim lighting – as well as a fascinating note from the Director about the piece. There were profiles of the two directors; a piece on Giuseppe Verdi; cast profiles; a note about Woking Dance Space; about NODA; a list of past productions; and last but not least, comments by recently recruited members of the company.

The set, sparse but effective, allowed maximum space for the large cast to move about the stage. It consisted of columns, regal looking curtains, and a Hall of Mirrors backdrop. The perspective of the floor design gave the impression of a raked stage. It was especially intriguing, with a slanted chess-board pattern with various black masks in alternate squares, very clever, and it caught the eye. Props were few, for the same reason, but effective also – especially the gallows stone with its iron restraints.

There were some fine outfits for the nobles at court, though some people questioned the inclusion of modern suits in the midst of Edwardian outfits. Maybe an extra cloak or two might have made this less obvious. The chorus were able to produce a wonderful array of hats, jerkins, shawls and skirts to make looking at, as well as listening to them, interesting. The ball gowns were sumptuous, the dancers’ costumes were lovely. The masks were beautiful and very effective, created and crafted by Puri Riviero. A feast for the eyes!

Musical Director Lewis Gaston provided for this audience the most rounded, balanced sound, with the playing of the wind orchestra melding perfectly with the fine voices of the principals, whether they were singing solo or as an ensemble, and with the chorus. The diction of the singers was refreshingly clear.  The sound produced here, ringing round this intimate theatre, will live with me for years.

One thing that stood out for me here is the high quality, not only of the voices we were treated to, but of the acting. Alex Haigh played Count Riccardo as a nobleman with a twinkly-eyed sense of fun, as we saw when he visited the fortune-teller Ulrica in disguise, as well as the tragic figure of the honourable would-be lover, who rather than endanger the reputation of Amelia and cuckold her husband Renato, his trusted best friend, decides to dispatch them on a diplomatic mission to England. Sadly, circumstances and ill-chance intervene. Amelia is unveiled in what looks deceivingly like a compromising situation, to her husband.  Renato’s sense of shock is palpable – his disbelief written on his face.  Amelia, who though madly in love, has turned down an illicit affair for the sake of her husband, is wrought with guilt and despair, as she is threatened with death, but driven mad with grief at the thought of her only son, and begs heart-rendingly for the chance to see him one last time. I have seen Masked Ball before, but never have I experienced the raw emotions in this work so beautifully portrayed. Never overdone. Just right. So this trio: Alex Haigh, as Riccardo the Count; Natalie Johnson-Hyde as Amelia; and Przemyslaw Baranek as Renato deserve the highest praise.

The scene at the house of the fortune-teller Ulrica was played with simplicity – no fancy set change, just a table surrounded by anxious-looking peasants, yet with great drama and menace. Ulrica was played to perfection by Louise Herrington, clad in appropriately dark, lush robe and shawl. Her rich voice and stage presence were remarkable, and the fearful glances of the chorus added to the sense of foreboding.

The Ball scene in Act III worked very well, with the masked chorus milling about, then making way for the accomplished dancers (from Woking Dance Space), with conspirators plotting all the while. This was a lively scene, so much going on, really quite realistic, as you would view a party from the sidelines.

Verdi gave us, with A Masked Ball, an opera of great contrasts – there is comedy (Riccardo’s scepticism at the scene with Ulrica, making her prophecy to the Sailor come true by stuffing a hastily written promotion letter into his pocket), there is a thread of foreboding throughout (the prophecy, the handshake, the scene with the lovers by the gallows), and there is great emotion. Not every opera company would be able to pull all this off so effectively, as well as provide sensitive, balanced and beautiful interpretation of the music. GOC was able to, very well.

Director Stephen Oliver achieved a marvellous production full of verve, movement, surprises (the ballet), fine acting, clarity and balance. The chorus are to be praised for their fine sound, and understated yet efficient acting. There were good performances too from Richard Gun-Cunninghame as the Sailor; Callie Gaston in the ‘trouser part’ as Oscar, Riccardo’s secretary; and the two conspirators Simon Wilson as Samuel, and Matthew Thistleton as Tom.

The final moments, with the death of Riccardo, - the realisation by Renato that he had killed this friend who trusted him, unjustly, this realisation, and the sense that he would have to live with this all his life, etched so clearly on his face, will remain in my mind.  A marvellous, memorable and very moving production indeed.

  

 

Photographs by Peter Sillick and Mr Riviero

© NODA CIO. All rights reserved.