This opera, one of the finest products of Verdi’s middle period, has at its heart a fatal love triangle between a ruler, his best friend and closest adviser, and the latter’s wife. There are also strongly characterised supporting roles and a notable part for the chorus. When all of these elements cohere you have a compelling evening at the opera.
This production was first shown seven years ago, and I gave it the highest rating then on all counts. If it does not quite have the same impact now that is largely thanks to a change in the fixed setting of the stage at Opera Holland Park that does not always suit productions conceived on the original stage layout. Some of the scenes now have something of a subdued, cluttered and compressed presence behind the walkway that surrounds the orchestra, and it would have helped if more use could have been made of the forestage in this revival: it was notable that the connection between audience and singers was much stronger on the rare occasions when this step was taken.
The direction of Rodula Gaitanou continues to impress overall, particularly, in her attention to significant detail. For example, during the overture with a fencing scene enacted on stage, a sudden stab with a foil anticipates the fatal denouement. Likewise, during the crucial ambush of Amelia at the end of Act 2, the conspirators toss her veil from one to another to symbolise her humiliation most uncomfortably. In each scene, in fact, there are notable moments of visual symbolism that show how well thought through the overall concept is.
There are other continuities that shine through with equal quality. The dark wood sets by takis open out and interleave flexibly to suggest palace, hospital and street venues, and the costumes have colour and flair where needed, as in the seance and ballroom scenes, while keeping a consistent period feel – a film noir, 40s ambience dominates. This is also emphasised in the lush purples and greens of the lighting scheme. There is also a splendid repeat performance by Rosalind Plowright as the medium Madame Arvidson, who foretells the deadly outcome. Her poise and grand demeanour in the wonderful costume designed for her impresses as much as her remarkable vocal sonority. Standing somewhere between Elizabeth I and Katisha, this is a performance that compels admiration. The City of London Sinfonia, this time conducted by Michael Papadopoulos, also return to provide powerful idiomatic support, equally impressive in the relatively brief moments of independent collective commentary and in instrumental dialogue with the singers.
As King Gustavo, Matteo Desole took some time to settle. We were warned by James Clutton at the start that he was struggling with a sore throat. All credit to him, this did not show to any great extent on the surface of his vocal delivery. But his acting and chemistry with the other leads was somewhat understated – understandably – in the first half, only to be followed by a very strong second half, where in the crucial duets and final confrontations he rose very much to the challenge. Elin Pritchard was also a bit subdued early on but in the second half she was very moving in embodying the impossible choices her character faces, and vocally faultless. High praise goes to Dario Solari, playing the role of her much put-upon husband. He showed himself to be a Verdi baritone of rare quality, making the most of the few arias he is assigned, and demonstrating the dignity and slow-burn passion and nobility that the role demands. The only slight disappointment was the Oscar of Rhian Lois, impeccably and tastefully sung to be sure, but lacking the projection that is needed to provide a comedic foil to the serious business of the main plot.
Overall, this was an engrossing production of an opera that is not always well served in modern revivals. The strength and coherence of the direction and of the performances ensures it is very much more than the sum of its parts, which is by no means always the case. A fine way to round off the main season at Opera Holland Park.
Giuseppe Verdi
Libretto: Antonio Somma
City of London Sinfonia
Director: Rodula Gaitanou
Conductor: Michael Papadopoulos
Cast includes: Matteo Desole, Rhian Lois, Rosalind Plowright, Elin Pritchard, Dario Solari
Until 7 August 2026
3 hrs with interval
Photo Credit: Craig Fuller