Adriana Lecouvreur

There was drama before the curtain opened when it was announced that star soprano Ermonela Jaho was ill, and was to be replaced in the lead role of Adriana by Natalie Aroyan.

It fills me with terror the thought of being thrown into a lead role on opening night – but Ms Aroyan rose to the occasion, earning a special rousing reception for her accomplished performance.

She brought on a book in the first act, which was part of the plot of her character learning lines for a grand production. The circumstances gave rise to the reasonable suspicion she needed the book as a prompt. It was amusing when the leading man tossed it away and the book was no-where to be seen thereafter.

Photographer: Guy Davies.

Even when this opera is staged in a traditional manner it can be difficult to follow the story. Afterwards a patron said to me she never understood the story, even when Joan Sutherland did it all those years ago.

The central plot of the opera focusses on a Sunset Boulevard like diva who is love with the Count of Saxony and her rivalry with his Princess.

Making it even more challenging to comprehend was the design from creatives at the Teatro Communate Di Bologna, who set this production in four different eras.

Acts 1 and 2 resembled traditional 18^th  and 19^th  century settings, then act three was sumptuously cloaked in the style of roaring 1920’s whilst the last act was in contemporary attire.

It left you scratching your head as to whether the Count was the same character in different acts, because he looked so different.

Nonetheless the surrender to confusion was drenched in tantalising artistry.

Act 2 was set in a dolls house with no roof with the Princess radiant in shimmering white.

Act 3 had stunning costumes at a masked ball, featuring one dancer floating up and down bright red drapes and another who started naked behind a screen, then luminously dressed with heavenly white wings. She gracefully opened her wings.

The music is beautiful to listen to but doesn’t really have ear worm blockbusters, but perhaps that is because the main motifs are not repeated. The orchestra under the baton of Leonardo Sini and chorus were exceptional.

The big hit is said to be lo son l’umile ancella (I am the humble servant of the creative spirit) which is sung by Adriana in the first act.

The loudest ovation during the opera went to the US tenor Michael Fabiano in the role of Maurizio. He was recently interviewed in the New York Times about his love of flying. His arias did soar above the clouds.

Another sparkling performance came from Romanian soprano Carmen Topiciu in the role of The Principessa.

The opera goes for over three hours but the time flew by with my companion for the night commenting that she wanted to see it again.

David Spicer.

Photographer: Keith Saunders, except as noted otherwise.