BWW Reviews: BALLO with Radvanovsky, Beczala and Markov Ends Met Season with a Bang

The Met was running on all cylinders for the last performance of the season, with Verdi's UN BALLO IN MASCHERA in an energized version of the production that premiered in 2012. The trio of principals--soprano Sondra Radvanovsky as Amelia, tenor Piotr Beczala as Gustavo and baritone Alexey Markov as Anckarstrom--gave ringing, heart-felt performances in a concept from David Alden that previously seemed half-baked. Now, the singing and acting were so good that one didn't concentrate on the conceit's shortcomings.

It's hard to imagine the extent of the political uproar that raged when this opera was first readied for performance late in the 1850s; Verdi became so frustrated that he pulled the opera (then called LA VENDETTA, about the murder of the Swedish king) because of censorship in Naples. He eventually gave it to the Rome Opera as GUSTAVO III, prompting even more changes, resulting in the resetting of the work to Boston with a non-royal protagonist and the title being changed again to UN BALLO IN MASCHERA.

These days, the original setting has been restored--though it is hard to tell in the current production, which seems to take place in a no-man's land. It's not the sometimes-interesting settings but the focus that's the problem, however. The director appeared unable to decide whether to set the story as a film noir or an updated Icarus-inspired tale of hubris and its dangers. Instead, he did a little of both and developed neither very well, except for some decidedly heavy-handed visuals of Icarus. (Sets by Paul Steinberg, lighting by Adam Silverman, costumes by Brigitte Reiffenstuel and choreography by Maxine Braham.)

Certainly, a big chunk of the credit for the success of this revival goes to the Gustavo of tenor Beczala, a consistently outstanding artist in his performances at the Met. Combining intelligence with a soaring voice, he gave the opera a warm center where there had been none at the production's premiere, providing Radvanovsky someone worthy to play off. Beczala could also hold his own with her and then some--no easy task with a voice like hers--in the great Act II love duet.

Radvanovsky continues to amaze with her sensitive vocalism, including a touching "Morrò, ma prima in grazia," and the enormity of her instrument, but her relationships to the tenor and baritone were central to her success as Amelia. As for Markov--who's not heard nearly enough at the Met--his virile, beautiful voice lent a strong third side to the opera's triangle and his acting brought his character to life. His famous aria in the first scene of Act III, "Eri tu," was memorable for its depth and sonority.

Mezzo Dolora Zajick was in fine form as Madame Arvidsson (better known as Ulrica from the Boston version), no longer simply a fortune-teller but a cross between a soothsayer and a therapist, with a waiting room filled with prospective clients, smartly played by the Met chorus under Donald Palumbo. Looking like she'd stepped out of "The Maltese Falcon," Zajick gave an exciting rendition of "Re dell'abisso, affrettati." The director didn't seem to know what to do with the character of Oscar, the page--a small but key role that has been a jumping off point for the careers of so many lighter sopranos--and Heidi Stober's small voice was disappointing in any event, at least at the performance I heard.

James Levine obviously has a fondness for the opera and it showed in the exciting performances from the opera's principals and the Met orchestra. They all made sure that the audience had a BALL.

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Photo by Ken Howard/Metropolitan Opera

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