In Puccini’s centenary year, it is fitting that a lesser-known work takes center stage. Suor Angelica is the middle opera in Puccini’s Trittico, positioned between Il Tabarro and Gianni Schicchi. Puccini’s sister, Iginia, was a mother superior in a Tuscan convent, giving him a deep understanding of the suffering of these women. The nuns were the first to hear the music! These three operas were perfectly balanced and composed to be performed together, so choosing to present Suor Angelica on its own is a surprising risk. People must travel to central London for just 55 minutes of entertainment. But is it worth it?
Director Annalise Miskimmon draws on her Irish heritage to shift the setting from 17th-century Italy to 1960s Ireland, a period marked by the scandal of over 80,000 mothers forced to abandon their children and live in convents, as sanctioned by both church and state. This harrowing reality was famously depicted in the film Philomena with Judi Dench. Though advertised as semi-staged, the production is visually rich, with rows of hanging sheets alluding to the infamous Magdalen laundries. Angelica’s expertise in mixing herbs and flowers is pivotal to the story. In Richard Jones’ ROH production, this is made clear from the start, with Angelica shown grinding herbs. However, in this version, Angelica’s talent isn’t immediately obvious, as she only produces potions later in the story, leaving first-time viewers unsure of her abilities. I would prefer to see Angelica distinguished from the other sisters earlier, rather than blending in until her first solo. Jones’ production achieves this more effectively by highlighting her from the outset.
This is a tragic tale with an all-female cast, depicting young women forced into convents and separated from their illegitimate children. Angelica, a woman of aristocratic background with a gift for making healing potions, has her illegitimate son taken away by her family. Seven years later, her aunt arrives to inform her that her son died three years prior. With nothing left to live for, Angelica concocts a poison and takes her own life, seeing a vision of her son as she dies.
The music takes time to captivate, with Puccini’s lush melodies only emerging after the first 20 minutes. However, it truly takes off when Angelica’s aunt arrives, becoming compelling through to the end.
Irish soprano Sinéad Campbell-Wallace, in the role of Angelica, has a gorgeous voice with a powerful upper register, though some phrases lacked dramatic intensity. Her progression from piousness to emotional collapse is well-paced, and her rendition of the famous aria Senza mamma (You died without your mother) is both realistic and heart-wrenching.
British mezzo Christine Rice MBE, who shone in Verdi’s Un Giorno di Regno at Garsington this summer, gives a commanding performance as the cruel, cold-hearted Baroness, Angelica’s aunt.
Australian soprano Alexandra Oomens, as Genevieve, provides a refreshing contrast to the austerity, with lovely vocal warmth as she expresses excitement when the sun shines on the fountain.
The rest of the cast delivers strong vocal performances, notably British mezzo Madelaine Shaw as the stern abbess and Sarah Jane Lewis as the greedy Dolcina.
Miskimmon’s decision to update Puccini’s Angelica to reflect Ireland’s tragic history works effectively as a standalone opera. The singing is superb throughout. However, the question of its commercial viability is crucial, especially given current Arts Council cuts. As a relatively unknown opera, it is not a natural crowd-pleaser. Despite decent attendance, tickets were discounted close to the performance date to fill seats. Yes, it is worth seeing, but without greater commercial success, it may struggle to return as a standalone production.
OPERA IN ONE ACT
Music by Giacomo Puccini (1858-1924)
Libretto Giovacchino Forzano
Conducted by Corinna Niemayer
Directed by Annilese Miskimmon
Cast includes Sinéad Campbell-Wallace, Christine Rice, Madelaine Shaw, Lea Shaw, Alexandra Oomens, Sarah-Jane Lewis
Running time 55 minutes with no interval
27th September 2024 two performances only.
Photo Credit Genevieve Girling