THE LOWRY THEATRE, SALFORD – 20TH MARCH 2024
REVIEWED BY MIA BOWEN
5*****
Pietro Mascagni’s youthful one-act masterpiece, “Cavalleria Rusticana,” is frequently paired with Leoncavallo’s “Pagliacci,” earning the nickname “Cav ‘n Pag” from opera enthusiasts who see them as inseparable. It was a pleasant change to see Opera North break this convention by staging “Cavalleria Rusticana” alongside Sergei Rachmaninov’s rarely heard “Aleko”, written when he was only 19 years old. Both operas, directed by Karolina Sofulak, highlight the exhilarating and powerful performances of Opera North’s 36-strong chorus and 60-piece orchestra, under the baton of conductor Antony Hermus.
“Cavalleria Rusticana” is performed in Italian and “Aleko” in Russian, with English subtitles displayed on screens, both sides of the stage. The two plots are tragic stories of murder, penned during the late years of the 19th century. Mascagni’s richly orchestrated score features some of the most famous melodies in classical music, including the Easter Hymn and the poignant orchestral Intermezzo. Rachmaninov’s music for Aleko, while less intense, also explores themes of adultery, betrayal, and vengeance in a compelling way.
In both operas, a jealous husband commits murder upon discovering his wife’s infidelity: in Cavalleria Rusticana, he kills her lover, while in Aleko, he kills both of them.
In Cavalleria Rusticana, the main roles are taken on by talented singers known for their powerful vocals that captivate the entire audience, from those in the front row to the farthest seats in the theatre. Andrés Presno impresses with his dark and rich Italian tenor as Turiddù. Giselle Allen delivers a flawless soprano performance as Santuzza, effortlessly rising above the full choir and orchestra during the magnificent Easter Hymn, showcasing the best in the production. I got goosebumps!
In Aleko, soprano Elin Pritchard shines brighter than others on stage with her powerful and pure vocals. She immerses herself in the role with exceptional passion and skill.
The two dance sequences in Aleko are usually performed as beautiful interludes or balletic showcases. These are a standout element for me as Sofulak successfully maintains a high level of dramatic tension. In the first dance, the chorus members provocatively engage with each other. The more unrestrained second dance shows them dancing frenziedly in a dervish-like manner.
This double bill is powerfully effective with dramatic themes that create an intriguing and entertaining night at the opera.