I Puritani

Victorian Opera’s latest venture, I Puritani, was a triumph. Performed in concert at Hamer Hall, the orchestra was on stage with the chorus behind and several music stands along the front. As required, soloists came on stage to sing, and left when they’d finished. No director was credited in the program, but I felt someone must have directed traffic as there was nothing static about this performance.

I Puritani is rarely performed, mainly because of the scarcity of bel canto tenors who can manage the astonishing tessitura. He has to negotiate a high F above top C! When the opera was written all tenors switched to falsetto well before top C, so the high F was not a problem. Now that tenors are expected to sing top C in full voice, the expectation is different.

When Pavarotti recorded this with Joan Sutherland he had no option but to switch to falsetto. However, for the Spaniard Celso Albelo there were no such limitations, and he fearlessly hit the high F in thrilling full voice. Not only did he achieve this, but he sang with beauty and musicality, giving a passionate performance.

Of course the opera was mainly staged to showcase Australian coloratura Jessica Pratt, and she did not disappoint.  Many sopranos singing above the stave can make ugly sounds, but Jessica retained the beauty in her voice throughout. It was a tour de force.

Experienced New Zealand bass-baritone, Paul Whelan, played the uncle with rich sonorous tone. Young developing artist, Nathan Lay, took another major step in his burgeoning career as the love rival, Ricardo. Though his top notes sometimes lacked focus, this role was ideal for him and showed that he can mix it with the best. Jeremy Kleeman, Carlos Barcenas and Tania Ferris provided strong support.

Opera is meant to be sung in a theatre with the orchestra in the pit. Having it as a concert performance often presents a problem, but not here. Richard Mills was in full control and never allowed the orchestra to overpower his singers. He also kept a careful eye on the singers, who were behind him, to keep everything together. I was also impressed that the ensembles were beautifully balanced, in spite of some voices being bigger than others.

The chorus was magnificent with thrilling singing. There was so much to like about this one and only performance.

Graham Ford