King Roger

King Roger is a Polish opera about the 12^th Century Sicilian King, Roger II, but in reality is a psychological drama of a man’s inner conflict between Christian restraint and pagan pleasure. This co-production with Covent Garden and Dallas Opera featured an eight metre high head, which revolved in the second act to become Roger’s three-tiered home, or a metaphor for what was happening in his mind.

It was totally engaging and enthusiastically received by the capacity opening night audience.

The lighting was amazing in that the head took on a life of its own. In the third act there was no head, just a pile of burning rubble as Roger falls apart.

Leading the population into temptation were a number of half-naked male dancers, writhing provocatively around the stage at appropriate times. Initially on the lower level in the second act, they took over the whole structure as Roger weakened.

The music was moving and powerful, and supported the drama of the piece. There was excellent work from the chorus.

Vocally the opera was dominated by Michael Honeyman in the title role. His rich, solid baritone was a constant delight. American tenor Arthur Espiritu was excellent as his tempter, the Shepherd, while Lorina Gore’s lovely soprano soared over everyone. Dominica Matthews was a strong Deaconess.

This was a magic night at the opera.

Graham Ford

Michael Honeyman as King Roger and Lorina Gore as Roxana, & Lorina Gore as Roxana and Opera Australia’s Dancers in Opera Australia’s 2017 production of King Roger. Photographer: Jeff Busby.