Composed by
Fromental Halevey -Libretto by Eugene
Scribe
Conducted by
Carlo Montanaro – Directed by Olivier Py
Revival
directed by Constantine Costi – Set and Costumes designed by Pierre-Andre Weitz
Lighting
Designed by Bertrand Killy – Revival Lighting designed by John Rayment.
Joan
Sutherland Theatre, Sydney Opera House, March 9th to 26th.
Performance
on 9th March reviewed by Bill Stephens
 |
| Opera Australia Chorus in "La Juive" |
A grand
opera in five acts, “La Juive” (The Jewess) was one of the most popular and
admired operas of the 19th Century, regularly produced in opera
houses around the world. It fell out of popularity around 1936, possibly
because of its theme highlighting conflict between Judaism and Christianity, neither
of which come off very well in Eugene Scribe’s libretto.
This month Opera
Australia achieved a long held ambition of Artistic Director, Lyndon Terracini,
to add this opera to its repertoire. It’s easy to see why. Not only does the
opera have a gripping storyline, it also has a melodious score, filled with
beautiful arias, lush duets, trios and rousing choruses, and also, a series of
leading roles perfect for showcasing the richness of Opera Australia’s current
roster of leading singers.
Natalie Aroyan (Rachel) and Francisco Brito (Leopold) in "La Juive"
Focussing on
Jewess, Rachel, portrayed in a striking, gloriously sung performance by Natalie
Aroyan, who with this role, together with her recent remarkable performance in “Attila”,
is rapidly becoming recognised as one of the country’s most accomplished and
thrilling dramatic sopranos.
Rachel falls
in love with a mysterious stranger, Leopold. This role was originally
programmed for rising young Australian tenor, Shanul Sharma, but is performed
with distinction for this season by Argentinian tenor, Francisco Brito.
Leopold, unbeknown to Rachel, is a Christian, but is also in a relationship
with a wealthy princess, Princess Eudoxie (Esther Song).
When Rachel
learns of Leopold’s Christianity, she’s horrified. Not only because of her own
strong Jewish upbringing, but also because her domineering father is a wealthy
Jewish goldsmith, Eleazar, who refuses to bow to Christian laws, and who she
knows would certainly not sanction such a relationship.
Eleazar
provides Diego Torre with one of his best roles to date, and he performs it
with his trademark intensity, singing so magnificently that his stunning
rendition of the aria, “Rachel, quand du Seigneur”, sung towards the end of the
opera, was rewarded with excited cheers and ecstatic applause from the first
night audience.
Despite the obvious impediments, Rachel succumbs to Leopold’s pleadings and decides to disobey her father, denounce her religion and run away with him. That is until she discovers, at a celebration to welcome Leopold home and announce his engagement to Princess Eudoxie, that Leopold has been two-timing her with the princess.
Natalie Aroyan (Rachel) - Esther Song (Princess Eudoxie) in "La Juive"
Devastated
by Leopold’s unfaithfulness, Rachel exposes their relationship to the gathering,
thereby insuring certain death for herself, her father and Leopold, as well as
delivering a nasty surprise to the startled princess.
For this
first production in Australia, a co-production with Opera national de Lyon, the
director and designer have moved the action to 1930’s France, represented by an
imposing, constantly revolving setting
designed by Pierre-Andre Weitz, who also designed the rather drab costuming. The setting includes a huge, ever-present
staircase, which creaks distractingly and unfortunately is reminiscent of the
setting for “Otello” currently running in repertory with this production. The monotone drabness of the costumes and
setting is offset by dramatic chiaroscuro lighting which creates a striking, ever-changing
environment for the action.
 |
| Esther Song (Princess Eudoxie) - Francisco Brito (Leopold) in "La Juive" |
Among the
many pleasures of this production is the performance of rising young lyric
coloratura soprano, Esther Song, making her role debut as Princess Eudoxie. Despite being hampered by an unflattering
costume obviously designed for a different body type, and some uncomfortable
direction involving red stockings, still managed to thrill with her luscious
soprano confidently tossing off the stratospheric complexities inherent in her
arias, and marking her as a singer with an exciting future.
David Parkin (Cardinal Brogni) - Francisco Brito (Leopold) - Diego Torre (Eleazar) - Natalie Aroyan (Rachel) in "La Juive".
Others to
impress was David Parkin as the troubled Cardinal Brogni, whose rumbling basso
profondo and towering presence has rarely been show-cased to better effect than
in the opportunities offered with this role, and Andrew Moran as the villainous accuser, Ruggiero.
Similarly,
the magnificent Opera Australia chorus, which has covered itself in laurels
this season, and for which this opera offers many more opportunities than most,
which rose to the challenges magnificently, especially in the final act
where they sing from the highest balconies in the auditorium to stunning
effect.
And a
particular shout out to conductor, Carlo Montanaro, for his spirited harnessing
of all the resources necessary for this huge production, including the
thrilling Opera Australia Orchestra, to deliver a triumphant unveiling of this neglected
masterpiece.
Images by Prudence Upton
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au
