Review: Manipulation, Scheming And Deception Get In The Way Of Love in LUISA MILLER

Tuesday 16th February 2016, 7:30pm Joan Sutherland Theatre, Sydney Opera House

Giuseppe Verdi's LUISA MILLER exposes the intrigue, in its darkest form, that threatens the purest of love. Presented by Opera Australia in conjunction with Opéra de Lausanne, Giancarlo del Monaco's (Director) stunning interpretation is bought to the Sydney Opera House by Barbara Staffolani (Revival Director).

Whilst the original work commences with the villagers serenading outside Luisa's (Nicole Car) house on her birthday, del Monaco has chosen to treat the work as a memory, looking back on the young woman's final days. Designer William Orlandi has chosen to greet the audience with a tableau of happy domesticity in white plaster, in contrast to the polished black floor. Figures of a man, woman and three children of varying age occupy a stately parlor complete with table set for tea and an ornate fireplace. During Verdi's textured overture, under the baton of conductor Andrea Licata, which serves as a forewarning of the dark dramatic story, the tableau is removed to reveal another polished black platform in three parts. The diorama eventually hangs over the drama as symbol of the lost dreams, capturing reflections of the action below amongst the inverted scene.

The procession of mourners in top hat and tails and black dresses, bearing funerary torches and bouquets of white flowers, circle the stage as the body of the young Luisa, laid out in a circle of more white flowers, is revealed. The simple clean lines of Luisa's clothes are the first indication as to setting in the 1930's, between the two World Wars, later supported by her father, Miller's (Dalibor Jenis) military stylings and Carlo/Rodolfo's (Diego Torre) cream day suit. As the choir sings to Luisa, the flashback commences, returning to a happier time when Luisa declares her love for the man she knows as Carlo, her father all the while skeptical of the stranger. It turns out that Miller's suspicions are justified as Carlo is the first to be found concealing a secret which in turn becomes ammunition for the slimy Wurm (Daniel Sumegi) and his heartless, power hungry master, Rudolpho's father, Count Walter (Raymon Aceto). The unscrupulous, lecherous, Mafioso, Wurm sets to manipulate Miller, Luisa, Count Walter and Rudolpho in order to secure the young woman for himself, with tragic consequences.

Nicole Car is breathtaking as the innocent Luisa. Her pure clear soprano captures the young woman's rollercoaster of emotions from love, despair, anguish and desperation with strength and sincerity. She expresses the devotion to her father along with the torment of having to say she is in love with Wurm, betraying Rudolpho, to secure her father's release. She has a beautiful physicality, ensuring an honest expression, moving with purpose and keeping Luisa from being a caricature whilst still conveying her youth and guiltlessness.

As Luisa's widower father Miller, Dalibor Jenis gives the former military man a concern and cautiousness of a father worried for his daughter's future. His baritone has a warmth of love for his daughter, tinged with the skepticism at the sincerity of his only child's new suitor. He has an element of rigidity in keeping with the military past whilst still having the sensitivity of one wanting the best for his child as evidenced by his expression that he wants Luisa to marry for love and that he only agreed to a union with Wurm if she reciprocated the affection.

As Luisa's suitor Rodolfo, Diego Torre presents the love for Luisa and defiance against his father but also the gullibility as he accepts the letter Wurm presents to him. He moves from what we believe to be a good, honest character to another dark, manipulative man with a vindictive streak, driven by jealousy as he falls for Wurm's lies.

Raymond Aceto, as Rodolfo's father Count Walter, captures the manipulative power hungry aristocrat that wants to secure Rodolfo an advantageous marriage to the titled widow, Federica (Sian Pendry), regardless of his child's wishes. There is a raw anger and greed and his bold bass conveys his authority and status. The Count is a man who gets what he wants, at all costs and Aceto has the gravitas to pull this off.

Even more manipulative, Count Walter's retainer, Wurm is presented with diabolical deviousness by Daniel Sumegi. Sumegi oozes Wurm's pure evil as the sinister sleeze that gets what he wants through lies and deceit, fueled by the Count's plans. His deep ominous bass expresses danger and that he is not to be trusted, even though everyone falls for his trap. Verdi's music and Salvatore Cammarano's (Liberetto) writing in this respect give both Count Walter and Wurm a pantomime villain caricature, which also resulted in traditional pantomime response from the audience at the curtain call.

This is a relatively simple story, presented on a bare stage save for some simple chairs, with the texture of the music and the direction telling the story without needing to understand the text. Orlandi's monochrome vision keeps the imagery simple but powerful with Miller and Luisa's lower station and innocence represented in less lavish clothes of lighter tones in comparison to those in the Count's circles dressed formally in black formal wear. Once Carlo's true self is revealed, he changes from the light colored suit to match the formality of his father's house as we see him under his father's control and subject to the Count and Wurm's manipulation and also prepared to engage in blackmail of his own.

This production of LUISA MILLER is a beautiful expression of Verdi's work, both visually and musically. Drawing it out of the 17th Century and incorporating the unusual staging ensures that this work is more accessible to modern audiences, particularly those less familiar with opera that can be overwhelmed by old world stylings. Del Monaco has kept the direction clean and simple, utilizing the space to define different locations without the need for elaborate sets, allowing the viewer to focus on the action and music while the pace is maintained. A must see for seasoned opera fans and well worth it for those wanting to experience Opera for the first time.

LUISA MILLER

Opera Australia

Joan Sutherland Theatre, Sydney Opera House

Febuary 11, 13, 16, 19, 22, 24, 27, and 29 2016

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