Make no bones about it, as an independent company that receives no government funding, Melbourne Opera's 2017 season has delivered a degree of consistency and excellence that places it firmly amongst the city's well-funded cultural institutions. First, it was a jolly good HMS Pinafore in March. Then, a riveting Lohengrin followed in August that demonstrated an increasing ambitiousness that now comes with proven flexibility. Finally, on Saturday evening, Melbourne Opera capped off the year with a rave-worthy production of Donizetti's Roberto Devereux, in its long overdue Australian premiere, to complete the company's study of the composer's Tudor trilogy. Directed by Suzanne Chaundy, who likewise directed Maria Stuarda in 2015 and Anna Bolena in 2016, what is evident is a ripened sense of detail and quality that surpasses the former two works with both its intellectual and visceral strength.
|Helena Dix as Elizabeth I in Act 3 of Roberto Devereux|
Embroiling emotional sentiments with political judgement, an ageing, unmarried and vain Queen Elizabeth I has cemented her status as a monarch but cannot conceal her frustration as a woman, spurned by her 'favourite', a man a third her age, Robert, Earl of Essex.
When I saw Canadian soprano Sondra Radvanovsky sing the taxing role of Elizabeth at New York's Metropolitan Opera, she was hailed with huge and deserved applause. I ruminated. As her understudy, how would Australian-born Helena Dix have navigated the role, one resplendent with the thrilling ornamented singing that characterises the bel canto repertoire?
|Helena Dix as Elizabeth and Henry Choo as Robert|
Of her vocal exhibition, Dix locked together a dazzling spectrum of expression from sweet musings to defiance and ultimate despair with seemingly effortless and arabesque melodic turns. Sung in English, there was nowhere to look but at a queen reigning over the stage. And it's not often you hear coloratura that contains bursts of character and meaning that drive the drama rather than simply providing exciting vocal fireworks - and an audience that engagingly responds to it on the way.
|Henry Choo as Robert & Danielle Calder as Sara|
With her privileged position, noble femininity and pure top notes, creamy mezzo-soprano Danielle Calder is exquisite as Sara, Robert's lover and the queen's rival. Warm baritone Phillip Calcagno journeys through his initial backing for his friend Robert and subsequent betrayal by his wife Sara with focused and natural step as the Duke of Nottingham. In minor roles, Jason Wasley and Eddie Muliaumaseali’i add a tier of sound support as Lord Cecil and Sir Walter Raleigh respectively. Gorgeously harmonised with a spring in delivery, a well-prepared Melbourne Opera Chorus light the evening splendidly despite their sometimes incomprehensible content.
It takes a while acclimatising to the Athenaeum's dry acoustic but, apart from an occasional blemish, the Melbourne Opera Orchestra made a fine soundscape, conducted with vigour by Greg Hocking. Once the perplexing overture is over, Donizetti's wonderful dramatic momentum and transitions take flight. Of note, Act 3's opening string playing produced a breathtaking introduction to Robert's isolation and the timpani and piccolo always amazed with their well-executed presence.
Melbourne Opera's year is almost over and the signposts point towards potentially even greater rewards for its artists and audience in 2018. It's time our government recognises that too.
Until 18th October, 2017
Production photos: Robin Halls