Adriana Lecouvreur – REVIEW

By MARK GARRISON

Adriana Lecouvreur, a co-production between Opera Australia,Teatro Communale Di Bologna and Fundación Opera De Oviedo, took to the stage of the Joan Sutherland Theatre at the Opera House Monday night (20 February), and while the opera may not have immediate name recognition, rest assured that Adriana Lancouvreur is simply sensational on every level.

The story, which has often been criticised as being confusing, is, at its heart, a story of a dangerous and obsessive love triangle, between Adriana, a real-life 18th-century star of the Parisian stage, her love rival, the Princess of Bouillon and the man they both loved, Mauricio, the Count of Saxony.

At the centre of this beautifully crafted production is the titular role of Adriana Lecouvreur, which was due to have been played by superstar Ermonela Jaho, but as fate had it, Jaho had fallen ill and the opening nights’ performance was headlined by Armenian-Australian soprano, Natalie Aroyan.

Aroyan, who has appeared in a number of Opera Australia productions including the title role in Aida, was miraculous. In the epitome of “the show must go on” moment, Aroyan owned the role. There wasn’t a moment of hesitation or falsity in her performance and her voice masterfully handled the notoriously difficult vocal requirements of the role.

Amongst the large cast, American tenor Michael Fabiano as Mauricio, and Giorgio Caoduro as Michonnet provided stellar support, while Romanian mezzo-soprano Carmen Topciu, as the Principessa, was divine.

Leonardo Sini, winner of the prestigious International Conducting Competition Maestro Solti, conducted the always wonderful Opera Australia Orchestra.

Aside from the talent that graced the stage, Adriana Lecouvreur is blessed with a rich creative team behind the scenes as well.

Director Rosetta Cucchi (along with Assistant Director Kate Gaul) has created a thrillingly inventive production, which spans across the centuries; with the four acts taking place in 1730, 1860, 1930 and 1968.

It is Act 3, in particular, which really dazzles. A dramatic shift in the visual approach of the production, and the costuming in this act, in particular, is strikingly beautiful. Aerialist Brendan Irving, also makes a strong impression  and Luisa Baldinetti, who choreographed the production, appears as a sort of winged angel, beautifully referencing the work of modern dance pioneer Loie Fuller.

Set Designer Tiziano Santi, and Lighting Designer Daniele Naldi have created a visually striking production, while Costume Designer Claudia Pernigotti has fashioned an astounding array of truly glorious costumes.

Finally, Video Designer Roberto Recchia left an indelible mark with his visually inspired video background work.

While the lack of familiarity with this opera made it feel initially daunting to connect with, I was soon transfixed. I assure you, you will be too. It’s a phenomenal show. Don’t miss it.

Until March 7

Joan Sutherland Theatre, Sydney Opera House, Bennelong Point

opera.org.au