Who knew a psychological thriller could be so lurid yet so luminous? With a flash of light and Puccini’s opening crashing chords, prisoner-on-the-run Angelotti plunges from the ceiling,: a gripping, visually captivating game of cat-and-mouse.
Edward Dick’s production, created for Opera North , displaces Opera Australia’s previous decade-old Nazi-inspired production in a purposeful nod to current times. At its premiere, Dick’s programme book featured pictures of Five Star Movement rallies and Donald Trump posing in front of a cross. In Act 3, the dramatic cupola flips into a star-studded disc through which the characters face their destinies.Echoes of the #MeToo movement also rebound: Gevorg Hakobyan sings the villainous Baron Scarpia in a chillingly rich, burnished baritone as if Harvey Weinstein had taken up a police job. Act 2 is no longer the negotiation conducted in the professional removes of the police bureau, as in more traditional productions.
Finally, Johannes Fritzsch conducts at a rollicking pace, the orchestra playing with finesse, balance, and clarity.
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