A Masked Ball

Any Verdi opera promises to be a feast of lavish music, with voices, costumes and set design to match.  We have come for the music, for the endlessly soaring melodies, and for the grand spectacle typical of the late Romantic period.

Soloists, Mexican Diego Tore (Gustave III), Hungarian Csilla Boross (Amelia) and Argentinian born baritone Jose Carbo (Count Ankarstrom), were warmly received, as was home grown talent Lorina Gore (Oscar) who thrilled with exquisite coloratura.

The dramatic highlight, below the gibbet towards the close of Act II, was the realisation of an intensely sinister overtone.

Orchestra Victoria, under the sensitive baton of Andres Molino, was silky smooth.

But all this was very nearly swamped. While I appreciate the artistic intention in contemporising this work through costumes and set design, it’s cold austerity failed to elicit any kind of empathy with the players, and occasionally distracted from the main event - the music. The endless concrete pillars and constructs, the greyness of it all. I hesitate to use the term ‘masculine’ after such a descriptor, nevertheless there is very little femininity celebrated for the whole 2 hours and 45 minutes.

Moreover while the set design is mechanically interesting, I remain unconvinced about its service to The Masked Ball. For mine this production lacks visual variety, and not only because of the never-ending flood of blue and purple suits, and an entirely masked company. Call me trivial, but I do like the occasional gorgeous costume at which to marvel. And to see the singers’ faces. Was I imagining it, or did the singing attain new heights when masks were removed?

A Masked Ball (Un ballo in maschera) is quite magnificently sung in the original Italian with English subtitles.

Lucy Graham

Images: Csilla Boross as Amelia, Diego Torre as Gustav III & José Carbó as Count Ankarström & Csilla Boross as Amelia & Diego Torre as Gustav III. Photgrapher: Jeff Busby.