Buxton’s new and first-rate Ernani production by Jamie Manton provided captivating drama

United KingdomUnited Kingdom Buxton International Festival [3] – Verdi, Ernani: Soloists, BIF Chorus, Orchestra of Opera North / Adrian Kelly (conductor). Buxton International Festival, Buxton Opera House, Derbyshire, 10.7.2024. (MC)

Cast of Ernani with André Heyboer (centre) as Don Carlo © Genevieve Girling

This revival of Verdi’s Ernani at the Buxton International Festival was an outstanding new production by Jamie Manton. Having already seen two great Verdi operas Otello and Don Carlo in May and June at Dresden this year, on balance, my view is that this Ernani was the most rewarding production.

In response to a commission from the Teatro la Fenice in Venice, Verdi looked around for a suitable subject. Basing the opera on Victor Hugo’s play Hernani (1830) strongly appealed to Verdi. Librettist Francesco Piave wasn’t as keen, fearing Ernani would be censored as royalty might be judged as being unflatteringly portrayed. Nonetheless Piave’s Italian libretto was given official approval by the censors and the premiere was given in 1844. Ernani provided Verdi with real success, but it lessened as Verdi’s output of great operas grew. Today Ernani is not standard repertory and revivals are not too common.

A dramma lirico in four acts Ernani is set in sixteenth century Spain where duty and allegiance are essential values for those of noble birth. Ernani was previously Don Juan of Aragon until loosing wealth and title during civil wars and is now a brigand. This is a tragic love story centring on three men Ernani, Don Carlo and Silva who all want to marry the same woman, Elvira.

On his return to the Buxton Festival Jamie Manton is to be congratulated for his fast moving if sombre production with designer Sami Fendall using only a minimal number of props. The mise-en-scène might have looked elementary yet it was purposeful and worked a treat. All eyes were drawn to Fendall’s set consisting of two sets of high wooden sides, positioned wide at the front of the stage and narrowed to the rear. As one might expect, there were several doors in the wooden sides. Of note too was a large circular light tube that was lowered down over Ernani.

With the costumes Fendall used contemporary clothes for example the chorus wore matching grey tunics, men in trousers and women skirts, which wouldn’t have looked out of place in the tv series Star Trek.

Displaying reserves of energy Siberian born tenor Roman Arndt sang the role of the brigand Ernani and gave a pleasingly consistent performance. Ernani is scheming to overthrow Carlos in revenge for his father’s death. Standing out was Arndt in heroic voice with the first act cabaletta O tu che l’alma adora when Ernani sang of his love for Elvira.

Nadine-Benjamin as Elvira and Roman Arndt as Ernani © Genevieve Girling

The role of young maiden Elvira was taken by London born soprano Nadine Benjamin. I am not sure that Elvira looked as overwhelmed as she might by all three males wanting her hand in marriage. A joy to hear was Benjamin in Elvira’s scene and cavatina Surta è la Notte… Ernani, Involami where she was all alone, singing whilst lying on a bed, wearing a plain yellow dress. A decisive singer Benjamin is comfortable from the top to the bottom of her range. When Benjamin sang at full volume, she still retained much of her clarity.

French baritone André Heyboer took the role of Don Carlo, the king of Spain who desired to be elected as the Holy Roman Emperor. Initially Carlo was in disguise as a peasant with Heyboer’s voice and acting prowess creating a fiery, ruthless character not to be trusted. From Act III, at Charlemagne’s tomb, Carlo with his aria Gran Dio!… Oh, de’ verd’ anni miei swore to alter his life and become virtuous if crowned Emperor. In striking voice Heyboer sang with committed expression that made Carlo, promising to be a changed man, sound believable.

The elderly Silva, an uncle and guardian of Elvira, was a role sung by experienced English bass Alastair Miles. From Act I in Silva’s aria with chorus Che mai vegg’io!… Infelice! E tuo credevi he was shocked to discover both Ernani and Carlo inside Elvira’s chamber. Suiting Miles down to the ground his full-blooded portrayal, with only little strain evident, was dedicated and had effective bravura.

Making a remarkable impact in the opening act was the scene where Ernani is befriended by a twelve-strong gang of rebels, looking like a gang of rough sleepers, who all want to bring down Carlo. This was superb singing by the chorus whose movement was tightly choreographed by Corina Würsch. Smaller roles taken by Jane Burnell (Giovanna), Emyr Lloyd Jones (Don Riccardo) and Theo Perry (Jago) assisted the success of the production. Ernani is famed for its ensembles and choruses that were performed with skill and enthusiasm.

Making a welcome return to the Festival after thirty years away the Orchestra of Opera North was conducted by Adrian Kelly, artistic director of the Buxton Festival since 2018. Kelly kept everything simple and adopted tempi and dynamics that seemed ideal. Several times I was struck by the sheer quality of the orchestral sound and solo contributions. Extremely well instructed the BIF Chorus, augmented by some members of the Young Artist Programme, made a strong impression.

Of course, Verdi’s Ernani has an inconceivable plot, but this is opera, so there is no surprise there. This new and first-rate production by Jamie Manton provided captivating drama, and the solo singers, chorus and orchestra can all be proud of their accomplishments.

Michael Cookson

Creatives:
Stage director – Jamie Manton
Set and Costume designer – Sami Fendall
Lighting designer – D.M. Wood
Movement director – Corina Würsch

Cast:
Ernani – Roman Arndt
Don Carlo– André Heyboer
Don Ruy Gómez de Silva – Alastair Miles
Elvira – Nadine Benjamin
Giovanna – Jane Burnell
Don Riccardo – Emyr Lloyd Jones
Jago – Theo Perry

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