Suor Angelica

This short opera is a little jewel of early 20^th century opera, with melodies hearkening back to rich romanticism, and daring chromaticism used sparingly and with significant intent. It is the second part of Puccini’s triptych of operas (Il Trittico).  It is heartening to know that it is also appreciated by Canberra Opera who have chosen it for their 2016 production, held in the charming Wesley Uniting Church in Forrest, ACT.

The role of Suor Angelica, a noblewoman who has been sent to a convent after a youthful indiscretion, is played magnificently by Canberra soprano Karyn Tisdell. The aria “Senza Mamma” was delightful, with dramatic light and shade. Janene Broere sang the role of the Princess, Angelica’s aunt, who brings appropriate sternness to her visit to the convent, and cast a spell on the audience with her rendition of “Nel silenzio”. Louise Keast sang the part of Sister Genovieffa and her voice was a joy to hear. The nuns’ voices blended well in harmonies, creating a solid chorus with confidence.

The staging makes interesting use of the space within the church: a chamber orchestra to the side of the altar, most action occurring before the altar with props designating rooms. Surtitles were displayed on the top of an arch, part of the set, which was at times rather distracting when action was occurring at a different part of the set.

The small string orchestra with piano and pipe organ was the right size and strength for the venue. Some string intonation problems were problematic during chromatic movements.

Appearing as angels visiting Angelica, the children’s chorus was sweet. The small chorus of male voices sang well.

This is a good introduction to opera, to experience trained voices and an orchestra in a live performance instead of on television or DVD. I recommend that singing enthusiasts see this gem.

Rachel McGrath-Kerr

Image: Karyn Tisdell as Suor Angelica and Hayley Beveridge as Suor Maria Theresa.