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Verdi,  Un ballo in maschera: at the Estonian National Opera, Tallinn, 13.2.2009 (Premiere) (GF)

Stage Director: Arne Mikk
Designer: Ralf Forsström
Choreographer: Oksana Titova
Lighting Designer: Neeme Jóe

Cast:

King – Senol Talinli
Prime Minister – Rauno Elp
Amelia, his wife – Heli Veskus
Ulrica – Riina Airenne
Oscar – Angelika Mikk
Silvano – René Soom
Ribbing – Priit Volmer
Horn – Mart Laur
Chief Justice – Andres Köster
Amelia’s Servant – Georg Gurjev
Dance Soloists – Seili Loorits-Kämbre, Daniel Kirspuu, Vadim Mjagkov

Estonian National Opera Chorus and Orchestra / Arvo Volmer

Un ballo in maschera has been seen in three previous productions at the Estonian National Opera during its century-long existence but it was performed as early as 1894 at Stadt-Theater in Reval, which was formerly the German name of the city. Then it was sung in German. The three more recent productions were premiered in 1928, 1961 and 1985. Of these the 1928 production was the then only existing version, located to Boston. Both the later productions were the Stockholm version with King Gustavus III in the central role, in accordance with historical facts. Of course Scribe’s play, which was the basis for Somma’s libretto, wasn’t too careful with historical facts anyway and Anckarström, who was the murderer (that’s a fact) was no close friend of the King. He was a captain and one in the group of conspirators against the king, where the other two central figures were Count Horn and Count Ribbing, so those two characters are ‘real’. The first time, to my knowledge, Un ballo in maschera was performed in the correct historical setting was in Copenhagen in 1934. In Stockholm it wasn’t until 1958 that Gustavus III appeared on the stage in his own opera and in the right place. This is a legendary production, directed by Göran Gentele and conducted by Sixten Ehrling with Ragnar Ulfung in the title role. It was preserved on a film by Swedish Television and it would be nice to have it issued on DVD. Here a new character was created, a Count Holberg (Renato in the Boston version), since it was regarded as implausible that the king would have an affair with a lousy captain’s wife. This love story, by the way, has no known historical parallel. It was invented by Scribe. By presenting us to an anonymous king and his likewise anonymous prime minister and transport the action to an anonymous latter day period the director presumably wanted to shake off the historic bonds and give the plot a more universal applicability.

In the new Estonian production there are several anomalies concerning the central characters. There is a king all right but nowhere referred to as Gustavus III and his close friend, Amelia’s husband, is plainly the Prime Minster. What is sung is however the Boston version, where the ‘king’ and the ‘prime minister’ are called Riccardo and Renato. This curious mix is further enhanced by the atypical costumes. The king and his prime minister wear ordinary suits of fairly modern cut – could be interwar time but also 1950s to present day. The king has a blue ribbon across his chest to give a hint about his position. Ribbing and Horn, as well as their plotters, are dressed in uniforms of roughly the same time, the body guards seem to have been hired from Securitas. Only Amelia wears period costumes – apart from the final scene, the masked ball, where everyone is in late 18^th century outfit.

During the orchestral prelude we encounter centre-stage a gigantic death-mask, which is divided in two halves when the play begins, and moved to the extreme left and right where they remain during the performance as a reminder of the tragic end. A similar mask, gilded, also functions as a backstage door in the first scene. There is a lot of evocative sets and lighting in this production. Ulrica’s dwelling is lit in green and lilac and the concluding ball scene with beautiful crinolines in purple and skilful choreography is a feast for the eye. I was slightly amused by the two chairs in the scene at the Prime Minister’s place: rather kitschy with red heart-shaped backs. Are they, I wondered, symbols for the happiness that had been ruined by the Prime Minister’s insight that his wife was having an affair with the king? All in all however this is a truly beautiful production.

I had a slight feeling that everything was not fully settled with the acting at the premiere. Somehow it seemed that the actors sometimes were not quite sure where to stand, how to stand, when and where to move. It seemed partly improvised. I’m sure this will be sorted out during the following performances. There was no mistaking though that the whole cast was well inside their roles and sang and acted with deep involvement.

As for the quality of the singing I had mixed feelings. The Turkish tenor Senol Talinli was in every respect superb as the King, acting naturally and singing with a lightness and elegance that made me think of Carlo Bergonzi in the role – and there can be no higher praise. No less impressive was his Amelia, Heli Veskus, who sported a large vibrant voice with real spinto character and still able to spin a beautiful inward pianissimo. Rauno Elp had the dramatic intensity to make a powerful portrait of the Prime Minister but as pure singing there was a lot to be desired – at least during the first two acts: strained and wobbly. Luckily he improved in the last act and Eri tu became the highlight it rightly should be. Angelika Mikk was a suitably glittering Oscar but Riina Airenne’s Ulrica was terribly out of sorts – though dramatically convincing. Priit Volmer and Mart Laur impressed as Ribbing and Horn and the excellent René Soom was luxury casting as Silvano.

I have heard quite a number of performances conducted by Arvo Volmer and he never disappoints. This was a truly dynamic reading with well judged tempos and as usual loving care about the singers. I don’t think I have ever heard the Estonian National Opera Orchestra playing with such thrust and flair, obviously relishing in the felicities and the melodic freshness of Verdi’s score. The chorus were also well in the picture. In the final scene there are also three dancers dressed in virginal white and at the very end, when the King is dead, Ulrica appears in an elevated position at the back of the stage to confirm that her prophecy has come true.

Despite some less than first class singing and the somewhat diffuse attitude to the historical setting – neither fish, flesh nor fowl in a way – this is another valuable addition to the repertoire of the Estonian National Opera.

Göran Forsling

Picture © Harri Rospu

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