Royal Conservatoire of Scotland / Ressenyes

Hobbling, haggard and pasty, bass João Fernandes brings considered wisdom to a helplessly lecherous Claudio. Doing so with his irresistibly hypnotic and sullen-toned bass instrument coming garnished with the finest vibrato, Fernandes leaves no doubt that his Claudio has emerged anew from near death in a tempest at sea. Rewarded with the power to rule but single-minded in his love for Poppea, the opera's only shining light of moral strength is Claudio's saviour from death, Ottone, to whom Carlo Vistoli imbues with fortified simple-heartedness and a vocally charismatic and wholesome countertenor. Vistoli's Ottone shares his feelings freely and tenderly with Keri Fuge's savvy and seductive Poppea, her bright soprano glistening more and more as the plot progressed. Together, Vistoli and Fuge keep love burning in sight of the debauchery, climaxing in Act III's "Pur ch'io ti stringa al sen" (Ottone) followed by Bel piacere e godere fido amor" (Poppea), to which the pair brought great spellbinding pathos.

During the recent, tumultuous Australian Labor Prime Ministership of Julia Gillard, the country was occasionally supposed to be offered glimpses of “The Real Julia”. Reality is a rare thing in politics these days. So “The Real Julia” probably only emerged when she let her flaming red hair down and made her famous misogyny speech attacking one of her male successors in Parliament. It was so effective, it’s been set to music. Rivalling Nerone to succeed Claudio is Carlo Vistoli’s Ottone. Again, he’s far too impolitically real to achieve the office, though naturally wins the audience's support – and admiration for his manly alto singing – every time he’s done down by Agrippina, Nerone, Claudio and even Poppea, whom he adores. Keri Fuse’s performance in this last role is the joker in my pack. For her white outfit and blond locks ought to hide a black heart in my scheme of things (and so her multiple prick-teasing would suggest). But Ottone’s preference for her over the Imperial throne (“As long as I can hold you in my arms”) does lead us to believe in a change of her heart. What would Monteverdi think?

There are some glorious musical moments, as often from the thirteen-piece orchestra in the pit with conductor Lionel Friend. The Act Two lullaby for harp, alto flute and bass clarinet with female chorus Charlotte Richardson is Britten at his distinctive best, while the vocal ensemble work was of a consistently high standard throughout.

The production’s take on the chorus was fascinating: the padre oversteps his counselling role making occasional tentative advances on the medic throughout, which she repels, but the balance of physical interaction sees the man dominate the woman. The Christian perspective at end of the opera is difficult and raises all sorts of questions, not least of which is if Tarquinius is forgiven, where does this leave Lucretia? In the final bars, Furness has the padre break open a holy phial and anoint the medic, taking water from the basin and pouring it over her head, which he held back by the hair in an uncomfortable and shockingly tight grasp. A tale of rape is never going to be a comfortable night at the opera, but the effect of the ancient story on the male and female chorus had us in deep discussion on the journey home.

Those fortunate enough to be in the few distanced audience seats for one of the four performances of Stephen Lawless’s captivating production of Humperdinck’s dark Yuletide confection can count themselves very lucky indeed. German mezzo Ascelina Klee has a huge voice which sometimes disturbed the balance on stage, but she and Spanish soprano Elena Garrido Madrona are a winning partnership as Hansel and Gretel in performances full of compatible physicality. The role of Father is also double-cast and Jonathan Forbes Kennedy brought a nice bonhomie to counterpoint the grim reality elsewhere.

The most successful element of this production was musical. The reduced orchestration by Derek Clark, prepared some years ago for Scottish Opera, was used, though there were plenty of players in the pit. The sounds produced by young conductor Adam Hickox were still thoroughly Wagnerian. The two title roles are awkward to cast as the performers need to be believable as teenagers while needing powerful voices. This pairing was highly successful, with Ascelina Klee a near ideal Hansel in stroppy teenager mode. Elena Garrido Madrona was equally fine as Gretel, no doubt assisted by the reduced orchestration.

Particularly outstanding are Carolyn Holt as the crusading Sister Helen, her rich-seamed timbre captivating at every emotional level.

..the first full production in the UK – is top quality. That goes for the performances too, and especially that of mezzo Carolyn Holt as Sister Helen, whose singing is matched with nuanced, characterful acting...