Opera fans are in for twice the delight in this double bill of the popular Cavalleria Rusticana and Rachmaninov’s rarely heard Aleko. It is not unusual for two operas to be presented together, but I believe this pairing is a first.
The curtains open to reveal a multi-locational set with an embracing couple centre stage, evocative of the passion to follow. Turridù (Andres Presne) returns from war to find his lover Lola (Helen Évora) has married another Alfie (Robert Hayward). He finds consolation in the arms of Santuzza (Giselle Allen), but still carries an obsessive passion for Lola. Thus the stage is set for a tale of faithlessness, jealousy and violence, set in a rural community where the church has an iron grip on the souls of its people.
Cavalleria Rusticana for many is the very essence of Italian opera. An overnight success in its day, it lead the verismo movement showing ordinary people can have opera-sized emotions as well as the aristocratic portrayals of the romantic era. It is said to be the opera that invented the mafia, so be prepared. Mascagni has a wonderful control of pacing, conveying a tough drama through a series of beautifully lyrical melodies.
Mascagni's youthful masterpiece, written in his early 20s, is the perfect companion to Rachmaninov’s Aleko, written when he was 19; it is an adaption of Pushkin’s poem The Gypsies. When Tchaikovsky saw Rachmaninov’s work at 16 years of age, he said, “for him I predict a great future,” praise indeed. This, like the first, is also a story of emotion gone mad. Aleko (Robert Haywood) leaves conventional society which he finds restrictive and joins a free-loving community. He falls in love with Zemfira (Elin Pritchard), who eventually leaves him for a younger lover (Andres Presne). Aleko’s unforgiving code of honour demands vengeance.
There are six main characters, all to be commended. The two principal male leads play two parts. Presne as Turridù gives a passion-filled performance, as does Hayward playing Aleko, his passion slowly boiling up to unleashed anger. Évora performs with such warmth; Allen has the same warmth and sustains intensity, while Pritchard has powerful vocals and throws herself into the role of Zambia passionately. Being a sand dancer myself, last but not least is wonderful Ann-Marie Owens as Lucia and 'a Woman' in Aleko.
The first opera is set in 1970s Poland, but it is definitely an evening of two halves. The first half is blandly set with food shortages and queues, while the second could not be more colourful with more than a hint of ‘hippy’ culture; it abounds with lots of denim, colourful clothes and a well stocked bar, and it is obvious from the off what it was. The costumes (Gabrielle Dalton) complement the settings. The first set, being multi-locational, is not so clear. When an open space represents a ‘room’, it should have a constant entrance, not three from all three sides.
The real star of these operas is the music, and to hear it played so magnificently by a full live orchestra is a true delight. The conductor brings real emotion to the music, especially the famous Intermezzo. The chorus under Anthony Kraus is also to be congratulated.
For anyone who is not familiar with the stories, do not expect a barrel of laughs, more a barrel bursting with a baleful barrage of brutal bitterness, blood and betrayal. Both operas are blood-soaked dramas with jealous love triangles which plummet to violent ends. However, Opera North is again to be congratulated for producing such a double bill. We are very lucky to have such a company bringing quality opera to us at affordable prices. I spoke to one couple who had travelled to see the show and were full of praise for the company. They had been to London and paid well over £200 each for seats plus transport and accommodation, and said they could not do that anymore.
So all opera lovers who want to see excellent opera at affordable prices, head to Theatre Royal this week, you will not be disappointed. Long live Opera North and may it go from strength to strength.