BY EMMA SULLIVAN
The Capulets and the Montagues
Victorian Opera and Tasmanian Symphony Orchestra
Hamer Hall, 14 September
What’d you miss?
- Two powerhouses arts organisations joining forces
- Richard Mills conducting a commanding performance
- Killer solo moments
Victorian Opera completed its Bellini concert series with a masterful performance of bel canto rarity, The Capulets and the Montagues.
Under the pressure of a looming deadline, Bellini was forced to borrow from earlier compositions such as his unsuccessful opera Zaira to complete this work. Critics often suggest that this gives the opera a disjointed feeling, but that certainly was not evident in this performance, which provided ample moments to make opera lovers swoon.
Under the baton of Richard Mills, the Tasmania Symphony Orchestra gave a commanding performance. From the first moments of the overture, the orchestra sparkled with clarity and energy that continued throughout the performance. They accompanied the singers with sensitivity and flexibility and seamlessly moved to the forefront for the orchestral interludes. Bellini provides a number of opportunities for solo orchestra members to shine, such as the cello solo at the opening of the second act, executed beautifully by Sue-Ellen Paulsen.
Bellini mainly calls for a male chorus in this opera, but Juliet’s funeral procession in Act 2 is a rare opportunity for full chorus. This was a stunning moment in the performance, with the transparent, almost otherworldly strains of the chorus breaking through a passionate exchange between Romeo and Tebaldo. The male chorus was on point throughout the evening but, in some bigger moments, it would have been great to hear them more clearly in the overall balance. This was potentially a staging issue, as they were up the back of the hall behind the orchestra.
The vocal line-up was impressive and the strength of the cast was particularly clear in the final quintet, where they achieved excellent intonation and balance. Teddy Tahu Rhodes and David Parkin brought their supporting roles of Lorenzo and Capellio to life, and Carlos E. Barcenas brought a depth of emotion to Tebaldo. He particularly shone in his fiery recitative and duet with Romeo in the second act. This scene was especially memorable for Andrew Seymour’s stunning clarinet obbligato. Leaving the performance, I overheard a lady on the tram comment that the clarinet was her favourite moment of the whole opera, and I am sure she was not alone in this sentiment!
But for me, it was Jessica Pratt and Caitlin Hulcup who stole the show. Hulcup brought sensitivity and strength to her role of Romeo, and showcased her incredible range, both technically and emotionally. And from the moment she entered the stage, Pratt was absolutely captivating as Juliet. Her first aria, Oh! Quante volte revealed her seemingly effortless mastery of bel canto style. This scene was further enhanced by Geoff Lierse’s opening horn solos and a sensitively phrased accompaniment by Melina van Leeuwen on harp.
Together, Hulcup and Pratt made absolute magic. Their final death scene was incredibly evocative and so sensitively handled. They were beautifully matched, not only vocally, but also in tone and intention. It was the perfect ending to a memorable performance, and there is little doubt it stayed with audience members long after the final curtain call.
Image supplied. Credit: Charlie Kinross.
