The onward march of inevitable catastrophe as part of an almost inconceivable series of events is the raison d’être of Verdi’s complex, melodramatic middle-period opera, Il Trovatore.
It is based on that decidedly outlandish plot where the wrong baby gets thrown into a fire and perishes – wrong, either way – by the psychologically loco gypsy woman, Azucena, who later raises the target of her vengeance as her own son, Manrico.
Add to that the burning romance between Manrico and the noblewoman Leonora, who is pursued by Conte di Luna – Manrico’s blood brother, of whom neither is aware – and this four-act work becomes a bona fide thriller in the right hands as umpteen twists and turns keep the audience incredulous and on its toes.
In a new, must-see Melbourne Opera (MO) production, it is brought to exhilarating life with an injection of insightful directorial spirit by Matthew Barclay, the soaring quality of the orchestral engine under conductor Raymond Lawrence, together with a superlative cast led by Helena Dix (Leonora), Rosario La Spina (Manrico), Christopher Hillier (Count di Luna), Sarah Sweeting (Azucena), and the riveting, explosive MO Chorus.
In Barclay’s debut with MO, Il Trovatore is released from its traditional medieval Spanish setting to play out in early 20th-century Spain. Inaugural OCCAs winner for costume design in 2026, Maya Anderson responds with a keen eye and diverse yet muted colour palette.
Barclay conceptually references Spanish writer and theatre director Federico García Lorca (according to the program notes) with a setting that incorporates the idea of “theatre” scarred by war. In so doing, a relationship is established between the physical trauma of war and the psychological trauma born from revenge – in what becomes a persuasive visual metaphor for the futility of vengeance and the ruins it leaves behind.
The only question is: since Lorca was executed in the early days of the Spanish Civil War in 1936, wouldn’t that period have provided a more effective historical association? Nevertheless, Barclay and his creative team conjure a deeply immersive and brooding experience.
Jacob Battista’s set design features a central stepped platform within what appears to be the backstreets of town, with the plain wall of a theatre building – the Athenaeum’s actual wall – forming the background. “No Fumar” is painted in large letters, yet cigarette smoking is rife as part of this smouldering drama. Tom Vulcan’s lighting design is a winning combination of dramatic effect, contributing to the mood appropriately.
From Leonora’s playful interactions with her confidante, Inez (Amanda Windred), to the shocking beating of a fellow soldier that seems routine within the ranks, and a noose that descends under a slither of light in Act 4’s prison cell in which Manrico and Azucena are incarcerated, Barclay not only enriches Verdi’s vividly painted sound world generously but lands countless physical actions on the music with dramatic precision.
While Barclay’s cast meets every detailed demand, their vocal performances rip with excellence. In a luminous role debut, soprano Helena Dix not only imbues Leonora with the conviction to trust her heart in the face of upheaval but sings with extraordinary purity and expressivity to match.
From Leonora’s opening pensive yearning in Tacea la notte placida to the performance highlight of Act 4’s D’amor sull’ali rosee as she sings outside the prison, hoping to save Manrico, Dix encompasses everything from feathery lightness to eruptive anguish, meeting each emotional demand with affecting vocal force – certainly a performance one might wish to preserve for posterity on vinyl!
The last time I saw La Spina cast in the role of Manrico was in 2014, in West Australian Opera’s production directed by the late Elke Neidhardt, coincidentally, with Barclay as rehearsal director. Experience shows, with a performance that is ardent and honest, his robust tenor a gloriously warm and resonant instrument whether heard on stage or off, while his chemistry with Dix convincingly echoes the couple’s love.
Hillier adds further stars to his musical career with a tirelessly compelling portrayal of a menacing, volatile Conte di Luna. Percolating jealousy, his fiercely authoritative and molten baritone makes palpably clear his mission to possess Leonora and persecute Manrico.
Digging deep into scarred psychological territory with her powerfully charged mezzo-soprano, Sweeting pours every ounce of energy into her harrowing Azucena, instilling fear from the moment she lashes out with Condotta ell’era in ceppi, yet ultimately garnering sympathy for a woman afflicted by trauma.
Other solid performances are given by commanding MO veteran Steven Gallop as Luna’s staunch officer Ferrando, Windred is lively and loyal support as Inez, while emerging artists Joshua Erdelyi-Götz’s Ruiz, Hartley Trusler’s Old Gypsy and Cen Wei’s Messenger provide finishing touches in smaller roles.
Following the premiere of Rigoletto in March 1851, Il Trovatore premiered in January 1853, just 6 weeks prior to that of La Traviata. Verdi was working at a remarkable pace, and a sense of feverish enthusiasm courses through his score as he takes his audience on an emotionally charged rollercoaster.
Lawrence juggles its swift changes in tempi and mood with skilful artistry, while all sections of the MO Orchestra, numbering more than 40 musicians, are to be commended for their expert musicianship.
When it is all over, Il Trovatore is an encounter with opera that, should a medical study be undertaken to track the heart’s rhythm during a live performance, would surely result in a frenzied cardiograph, demonstrating just how impactful full-throttle theatre can be. If you think your heart is up to it, promise yourself to go.
Il Trovatore
Athenaeum Theatre, 188 Collins Street, Melbourne
Performance: Sunday 23 August 2026
Season continues to 30 August 2026
Bookings: www.ticketmaster.com.au
For more information, visit: www.melbourneopera.com for details.
Images: Melbourne Opera’s Il Trovatore – photos by Robin Halls
Review: Paul Selar