The welcoming embrace of both central Melbourne’s historic Athenaeum Theatre and the Melbourne Opera (MO) family are always an enticing thought. On this occasion, a concert marking the 100th anniversary of composer Giacomo Puccini’s death continued the company’s short season to celebrate his legacy. It follows a new production of La Bohème currently on stage in which “the electricity and colours of life fill the stage.”
On Sunday afternoon, at a gala event that matched Puccini’s one-act opera Suor Angelica with a collection of some of his extensive operatic highlights, MO not only presented an enormously satisfying concert in honour of the composer but demonstrated, once again, just how brilliant they are in championing both the art form and locally grown talent.
A robust and characterful all-female cast dignified Suor Angelica marvellously in the first part and the opera highlights rang out with passionate and commanding strength in the second. Visually, a sense of connection to the season was created by employing the bones of the bohemians’ garret set-piece from La Bohème. Music stands were placed in the foreground and the MO Chorus were snugly seated behind.
A proven natural in front of an audience, emcee for the concert, tenor Stephen Smith, was certainly tested a handful of times with unforeseen glitches that included lighting cues, a soloist’s restart and programming mishap. Smith, however, ironed it all out exuberantly with such good humour and professionalism that he could be trusted to turn any potential disaster into solid entertainment.
Beginning with the horrendously tragic story of Suor Angelica, set within an Italian convent in the late 17th century, innocent desires become sins, punishment is unforgiving and the walls are a prison for those who bring shame to their families. Of noble blood, Suor Angelica’s travesty was bearing a child out of wedlock.
The deeply felt personal pain and tragedy of the titular character oozed convincingly from inimitable soprano Helena Dix, who sculpted her performance with judicious restraint, an abundance of vocal expression of coruscating beauty, thoughtful articulation and heartbreaking poignancy. Attesting to Dix’s skilful acting, the role contrasts between her Suor Angelica and the uninhibited fancies Dix revels in as Musetta in MO’s current La Bohème couldn’t be greater.
As an apocalyptical, sorceress-like La Zia Principessa, Suor Angelica’s aunt, plush mezzo-soprano Deborah Humble was superb in whipping up a fabulously dark and bewitching storm when arriving to convey the news that her niece’s son had died.
The aftermath was cruel, having reduced Dix’s Suor Angelica to a heaving mess of human despair and precipitating one of opera’s most devastatingly aching scenes as Suor Angelica battles the news. Dix’s cries of “Salve mi” made piercingly chilling theatre and the transparency of soul she exhibited was astonishing in the knockout, focussed aria, Senza mamma.
Each of the smaller parts were beautifully drawn with some notably solid singing from the three mezzo-sopranos Breanna Stuart (La Suora Infermiera), Shakira Dugan (La Maestra delle Novizie) and Amanda Windred (La Badessa).
Throughout, the MO Orchestra continued their excellent work under the baton of conductor Raymond Lawrence, who delved deep into the score’s expressive heart to shape a riveting dramatic soundscape. Likewise, that same attention and expertise made itself known in the second part of the program.
In the operatic highlights, featured soprano Lee Abrahmsen was outstanding, courageously fighting off a sudden throat irritation and, Britannia-like, returning to deliver arias adorned with sumptuousness and feeling.
During the hopelessly ominous aria, Sola perduta abbandonata from Manon Lescaut, a first little cough seemed to squeeze itself in for dramatic effect but it soon became clear Abrahmsen was in trouble. After an apology, a short time later Abrahmsen unleashed the power and radiance of her instrument, showcasing the best of her vocal eloquence and secure top range — an incredible feat following what may be an artist’s worst nightmare.
The second half virtually belonged to Abrahmsen, rendering two additional well-known arias with great feeling and beauty – Un bel di from Madama Butterfly and Vissi d’arte from Tosca.
Together with tenor Michael Lapina, the touching and romantic duet Viene la sera from Madama Butterfly exhibited a fine balance of tenderness and passion in one of many highlights.
Lapina himself rose to new heights in closing the concert with a gutsy, spectacularly sung Nessun dorma from the composer’s last opera, Turandot, employing great intelligence and skill combined with commandingly planted physicality to not only create belief but wowing the audience to immense applause.
The rousing Te Deum from Tosca opened the second half headed by baritone Christopher Hillier in potent authoritative form as the evil Scarpia. Behind him, a little unevenness crept into the otherwise fine-sounding MO Chorus who excelled later as they melted away the high-intensity program with The Humming Chorus from Madama Butterfly. And warm tenor Boyd Owen (Rodolfo in La Bohème) sang out an ardent Orgia, chimera dall’occhio vitreo from Puccini’s first rarely performed Edgar.
A surprising encore wrapped up the gala. Smith mustered Owen and Lapina for a triple-tenor reprise of Nessun dorma. Taking turns in a friendly combat of sorts, the trio signed off in soaring unity as shoulder-to-shoulder chums.
And while not a skerrick of comic relief peered through the curated program of works, MO brought a wonderfully upbeat feeling befitting a celebration.
Puccini Gala including Suor Angelica
Athenaeum Theatre, Collins Street, Melbourne
Performance: Sunday 22 September 2024
Season continues to Wednesday 25 September 2024
Information and Bookings: www.melbourneopera.com
Image: Deborah Humble, Helena Dix and Melbourne Opera Chorus – photo by Robin Halls
Review: Paul Selar