'The Sicilian Vespers' review — Verdi's rebel opera features complex characters, mature music, and outrageous storylines

Read our review of The Sicilian Vespers, directed by Stefan Herheim, now in performances at the Royal Opera House to 6 October.

Summary

• Director Stefan Herheim puts a new spin on Verdi's opera in this engaging production
• The story now takes place in an opera house in 19th-century Paris
• The cast includes Joyce El-Khoury showcasing her dazzling range and Quinn Kelsey delivering intense emotion as the tyrannical Montford

Loosely based on the Sicilian revolt against the French occupation in 1282, Verdi’s The Sicilian Vespers features some of the composer’s most complex characters, mature music, and outrageous storylines. At the heart of the plot are patriotic Sicilian noblewoman Hélène and her lover Henri, whose loyalty is torn between his fellow Sicilians and French governor Montfort. Meanwhile, the people of Sicily grow increasingly frustrated with the tyrannical regime and plan a violent rebellion against their occupiers.

While The Sicilian Vespers is only rarely staged in London, this is the third revival of Stefan Herheim’s opulent vision at Covent Garden. The Norwegian director transports the action to the Salle le Peletier (the former home of the Paris Opera) in 1855 – which is when and where Vespers premiered.

Although this leads to some perplexing moments in which the libretto simply doesn’t match what’s seen on stage, the production subtly shifts focus to exploring the tensions of actually producing theatre. The conflict centres on art, rather than politics. Sicilian rebel Jean Procida becomes a ballet master at war with the company manager, Montfort, which pits the artist against those with the money to dictate what is or isn’t put on stage – a change that feels eerily astute in the context of watching an opera.

Philipp Fürhofer’s lavish set is a feast to behold. Most of the plot takes place in the grand auditorium, where the oppressed Sicilians are banished to the stage and the French oppressors sit comfortably in the balconies above; a ballet rehearsal space features as a second space. Herheim uses this setting to create plenty of chilling scenes, such as when the conspirators are wearing dark costumes and donning theatrical masks, or when Montford sings his aria at the beginning of Act III and is haunted by his distorted reflection in the mirror.

Ukrainian tenor Valentyn Dytiuk delivers his Henri with a solid performance, demonstrating an impressive range in the upper register; his voice is soft and yet fills the stage effortlessly. He also has remarkable chemistry with Joyce El-Khoury’s Hélène. The Lebanese-Canadian soprano needs a little while to warm up but by the time of the first intermezzo, she convinces with a dazzling range and tonal quality to do her role justice. But it is baritone Quinn Kelsey’s tyrannical Montford that steals the show: both an amazing actor and singer, his voice carries intense emotion in every scene in which he features.

Verdi’s score is marked by the nuanced orchestration of his more mature work. It features rich sound with dramatic energy – the overture, in particular, features some of the composer’s finest music. Principal Guest Conductor Speranza Scappucci maintains a masterful grip in her guidance of the Orchestra of the Royal Opera House, bringing the music to life.

Herheim’s production is destined to divide audiences. Although the aesthetics are beautiful, some may find it difficult to follow the plot considering the setting, and not all the specifics work spectacularly. But he transports the opera into new territory, questioning the relationship of opera houses with their work. Add in strong performances and Scappucci at the baton, and this is a rewarding, if challenging, watch.

The Sicilian Vespers is at the Royal Opera House to 6 October. Book The Sicilian Vespers tickets on LondonTheatre.co.uk

Photo credit: The Sicilian Vespers (Photos by Tristram Kenton)