Verdi's London opera returns home

Hvorostovsky was convincing as the evil brother

by Briony Hale BBC News Online

I Masnadieri, Verdi's 11th opera and the only one written for London, has previously been regarded as somewhat of a failure.

Last night, Elijah Moshinsky's 1998 production for the Royal Opera on tour received a warm welcome as it returned home for its first performance in the new opera house.

Amalia is caught between the love of two brothers

The unusually high proportion of solo arias - often performed directly to the audience - demands a strong cast.

This the Royal Opera delivered, with three superb male singers: American tenor Franco Farina, Russian baritone Dmitri Hvorostovsky, and German bass Rene Pape.

Rene Pape, although playing a more minor role, delivered plaintive and beautiful arias that culminated in a tender duet with Franco Farina, as father and son were united.

And Hvorostovsky, as the evil and scheming brother, performed passionately as he was left to contemplate the vision of his future alone.

Swedish footsteps

Based on Schiller's play Die Rauber, the opera examines the themes of lost love between father and son, while the hapless heroine is caught between two fighting brothers.

Hvorostovsky's baritone carried the opera through static scenes

Premiered at Her Majesty's Theatre Haymarket in 1847, I Masnadieri was written specifically with the Swedish soprano Jenny Lind in mind.

Paula Delligatti took on the role of the popular Swedish nightingale, but while singing well, failed to live up to the strength of the male cast.

Edward Downes, now in his 50th year with the Opera House, was conducting his own edition of the opera, that includes a hauntingly moving cello solo in the overture.

An ill-fitting plot

The haunting tone of the music was reflected in a simple but effective set, that centred around a revolving glass screen.

Masterful lighting allowed the scene to change effortlessly from snow to the fire of Prague and between a glowing sunset and stormy weather in a wood.

But the stage seemed dark and the costumes lacked imagination.

Moshinsky's production was often static, but the all-male chorus provided some more typically rousing Verdi, and shone especially during the rape and pillage chorus.

Voices win through

I Masnadieri is often perceived to mark the end of Verdi's apprenticeship.

The dark complexity of Schiller's drama and the emotions of the characters do not fit easily with the early light-hearted music of Verdi.

But despite a problematic opera, there is still much to enjoy in this production, which boasts some fine music and excellent singing.

I Masnadieri is on at the Royal Opera House in London on 3, 5, 8, 11, 16 and 19 October.