A Masked Ball ★★★½

Diego Torre and Jose Carbo In Opera Australia's A Masked Ball. Picture: Lisa Tomasetti Source: Sunday Herald Sun

WITH a vibrant opening-night atmosphere, we settle into the first of Opera Australia's autumn shows with an intriguing opening sequence of images superimposed on the body of a naked man.

As the Overture continues (in a style not dissimilar to James Bond), these images turn to scenes of destruction, violence and rioting. Finally, we have the Orwellian totalitarian setting on which the context of this opera is based.

This intriguing yet divisive production is the work of an artistic director of La Fura dels Baus Alex Ollé.

It has the cast in suits wearing masks in the style of water-polo helmets, complete with a backdrop of an incredibly effective, yet bleak and cold set.

It can be argued that this lengthy opera was one of Verdi's best. According to fellow composer, Igor Stravinsky, "criticism ceases to make any difference''.

However, while the multi-level set makes for very interesting viewing, the libretto labours over the point and, in a work where little occurs until the very end, one expects a faster pace in this contemporary production.

There were wonderful performances from the cast, lead by Diego Torre (Gustav III), José Carbaacó (René, Count Ankarstrdöm), Csilla Boross (Amelia) and Lorina Gore (Oscar) with a strong supporting ensemble cast.

Setting up what will come, Act 1, Scene 2 features the fortune-teller Ulrica Arfvidsson (Mariana Pentcheva) delivering one of the most poignant lines of the opera: "Hatred can be masked by a friendly face.''

This scene rests on the backdrop complete with writings not dissimilar to The Matrix and is a visual and aural feast.

The only oddity in this scene is that while protest banners and graffiti are all in English, the opera is sung in Italian. Perhaps, as one fellow audience member pointed out, this is a representation of a "pan-European'' reality.

José Carbó's mournful lament about lost love and vengeance in Act III was particularly beautiful, while some very effective usage of CCTV footage (which follows) provided the backdrop for the paranoia that simmers throughout the whole production.

Once we finally reach the conclusion - the masked ball - the expectation of visually stunning costumes and masks disappointingly didn't eventuate.

The cast is again suited up for the climax of the production, with the conclusion leaving little hope in this particularly Orwellian world.

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A MASKED BALL
Opera Australia
State Theatre, Arts Centre Melbourne, until May 3
Rating: ???½

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