Conducted by Speranza Scappucci – Directed by Stuart Maunder
AM
Hosted by Laura Tingle – Lighting Design by Alex Lynn
Joan Sutherland Theatre – Sydney Opera House – August 20th
& 22nd, 2026
Performance on 20th August reviewed by BILL STEPHENS.
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| Jessica Pratt in an excerpt from "Lucrezia Borgia" |
It was a happy decision for Opera Australia to close its 70th
winter season with two gala concerts celebrating Dame Joan Sutherland in the
centenary year of her birth. One of opera’s greatest voices, Sutherland inspired
generations of Australian singers and remains central to the company’s history.
Equally apt was the choice of Jessica Pratt as principal
artist. Internationally acclaimed in the demanding bel canto repertoire that
made Sutherland famous, Pratt is regarded as a natural successor. Directed by
Stuart Maunder and hosted by ABC presenter Laura Tingle, the program drew thoughtfully
on operas closely associated with Sutherland’s career.
Rossini’s sparkling overture to Semiramide recalled
Sutherland’s celebrated 1983 performance and introduced conductor Speranza
Scappucci in an impressive Opera Australia debut. Her crisp, confident
direction drew responsive playing from the orchestra and vital singing from the
cast.
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| Jane Ede -Luke Gabbedy - John Longmuir - Jennifer Black - Sidna Nissen - Jake Lyle in excerpt from "Don Giovanni" |
A stirring scene from Mozart’s Don Giovanni opened the vocal program, with John Longmuir, Luke Gabbedy, Shane Lawrencev, Jane Ede, Jennifer Black, Sidra Nissen and Jake Lyle combining effectively. Caitlin Hulcup and Black offered an exquisite Flower Duet from Delibes’ Lakmé, followed by the Ghost Trio from Offenbach’s The Tales of Hoffmann, engagingly sung by Ede, David Parkin and Hulcup. The Opera Australia Chorus then brought warmth and serenity to Mozart’s Idomeneo.
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| Jessica Pratt in excerpt from "Norma" |
However, Pratt’s extended appearances in Norma, Lucia di Lammermoor and Lucrezia Borgia made the evening memorable. Mindful of Sutherland’s cherished interpretations, Pratt’s performances were thrilling in their own right. Her dazzling technique dispatched bel canto’s intricacies with apparent ease, while her instinctive theatricality made each scene far more than a vocal display.
For Norma, Pratt swept onstage in black silk lavishly trimmed with gold. Her poised “Casta Diva” contrasted tellingly with Norma’s fury when the young priestess confessed her love for Norma’s unfaithful lover. No less arresting was Pratt’s entrance in a blood-soaked gown for Lucia di Lammermoor, or her anguish as Lucrezia Borgia realised she had poisoned her son.
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| Jessica Pratt in excerpt from "Lucia di Lammermoor" |
Her use of costume, meticulous response to the text and
ability to sustain a final pose through tumultuous applause made her riveting.
Tenor Kang Wang supported her admirably as Pollione in Norma and Gennaro
in Lucrezia Borgia. Hulcup was a touching Adalgisa, while Parkin as
Raimondo and Dalibor Jenis as Enrico added drama to Lucia di Lammermoor.
Maunder wisely reserved the final word for Sutherland. A
montage of her performances accompanied concertmaster Matthieu Arama’s lustrous
“Méditation” from Thaïs, before footage of Sutherland’s 1990 Sydney
Opera House farewell filled the theatre with her image and unmistakable voice singing
“Home Sweet Home”.
It was a moving conclusion to a beautifully judged
celebration that honoured an incomparable Australian artist while confirming
Pratt as a compelling custodian of the bel canto tradition.
Photos by Keith Saunders
This review first published in the digital edition of CITY NEWS Link
