THIS year is the 20th anniversary of Dorset Opera’s move from Sherborne’s Big Schoolroom to the Coade Hall at Bryanston School near Blandford, and something special was needed to celebrate the occasion.
Artistic director Rod Kennedy could hardly have anticipated the extraordinary thrill that South Korean baritone Hansung Yoo would bring to Dorset in the title role of Rigoletto, Verdi’s bitterly cruel story of corruption, entitlement, bullying and parental love. Yoo brought not only a powerful, passionate and beautiful voice to the role, but matching characterisation as the hunchbacked jester forced to ingratiate himself to the Duke of Mantua and his courtiers, but despised and ridiculed by each of them. Letitia Vitelaru as his beloved daughter Gilda wrung the audience heartstrings as she was duped by the callous, lascivious Duke (Jihoon Son).
Against a monumental set cleverly designed by Rufus Martin, the story progressed to its inevitably tragic ending in Jamie Hayes’s production. The Dorset Opera chorus, first seen in the colourful fancy dress ball at the 1920s Mafia-style Court of Mantua, has never sounded better, and the full orchestra, under the baton of Jeremy Carnall, squeezed every ounce of emotion and braggadocio from Verdi’s music.
Rigoletto is the centrepiece of the 2025 season, which is completed by the double bill of Mascagni’s Cavalleria Rusticana and Puccini’s Suor Angelica. All three operas, set in Italy, confront the issues of the Catholic church and sin. Rigoletto’s daughter loses her virginity to the carelessly lustful Duke. Turridu’s passion has ruined Santuzza, and his return to his now-married lover Lola spells disaster for all. Angelica’s baby, born out of wedlock, means she is banished by her wealthy family to life in a convent. The Church hangs heavy over all.
Rufus Martin’s set, so effective in Rigoletto, is transformed to a Sicilian street scene for the torrid tale of Turridu and his women, but in Suor Angelica, transformed again, it provides a crude and jarring backdrop. No vast homo-erotic paintings of martyrs would have been seen in a strict convent, and the descent of the distorted crucified Christ further detracts from a vitally austere atmosphere. This is a great pity, as the company, led by Eri Nakamura as the grieving Sister Angelica, Maria Schellenberg as her unbending aunt and Heather Shipp as the Abbess, gives a fine account of Puccini’s heartbreaking story.
Paul Carr’s direction misses the overwhelming faith and peace needed in the convent, instead veering into the fun of the nuns in the Sound of Music merged with the strict rules of monastic life. And then there is the introduction of the skimpily clad lover! The realisation that Suor Angelica’s suicide means mortal sin and no reconciliation should come as a chilling shock, but it does not.
Leonardo Capalbo makes a welcome return to Dorset Opera as the arrogant, lovelorn and confused Turridu, with Heather Shipp as his very Italian mother, Julia Mintzer as Santuzza, Gyula Nagy as the racy trucker Alfio and Heather Lowe as Lola. Capalbo’s easy animal magnetism makes Turridu’s uncontrollable desires entirely convincing, and it is a joy to hear him at Bryanston again. José Miguel Esandi conducts the double bill.
The interesting programming provides a challenging trio of moods for the chorus, and congratulations to them all.
Dorset Opera Festival’s casts combine top class operatic professionals and amateur and graduating singers, offering a unique opportunity both for their development and for its loyal audiences. The company has come a very long way since its move to Bryanston and the appointment of Rod Kennedy, an international bass from Bournemouth who had sung with them on several occasions in Sherborne.
Every season brings an exciting new programme. This year’s brings a truly great Rigoletto, and a fascinating combination of agony and passion sacred and profane. You won’t forget either the voice or the performance of Hansung Yoo as Verdi’s tragic fool.
GP-W