I suppose this is mainly because it has been overshadowed by his later magnificent operas such as Aida and Rigoletto, but its four hours length may also have contributed. On the basis of the current production at the Royal Opera House, however, it has been unjustly neglected.
This is the first revival of a 2013 production made to celebrate Verdi’s bicentenary. Many of the leading figures in the cast of that production have returned, but they seem to have built on the experience and their performance this time seems to have improved dramatically.
Then story is set in 13th century Sicily which is occupied by French troops. The French governor, Montfort, is doing his best to keep things under control, but faces determined restance by Sicilian patriots led by Procida. The resistance is then joined by the young Sicilian Henri who has been brought up to be venomously opposed to Montfort.
Later, Henri discovers that he is in fact Montfort’s son, conceived during a rape which we say even before the overture was over.
Henri, naturally enough, falls in love with the Duchess, Hélène, who is being held hostage by Montfort for her loyalty to Sicily.
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With a revolt, executions, a love story and more arrests, this is true operatic stuff and the cast are magnificent.
Bryan Hymel (as Henri), Erwin Schrott (Procida), Michael Volle (Montfort) and Malin Byström (Hélène) all sing their hearts out to make the most of Verdi’s glorious music. They all have the ability to increase the volume while they sing without affecting the tone quality.
One is usually lucky to have one singer who can do that; this time there are four and the effect is electric.
With impressively huge sets, some surprisingly delightful ballet intervals and the Covent Garden orchestra under Maurizio Benini also very effective, this all adds up to a superb, long evening. Grand opera does not come much grander than this.
Finally, I must mention George Nearn Stuart, from Battersea Stagecoach, who was quite amazing as the little boy who kept affecting Montfort’s memories.
Normally children in operas only have tiny roles, but young George kept reappearing, conducting the singers with a sword, wielding an executioner’s axe, or with attached wings playing a lyre. And they didn’t even give him a curtain call at the end.
I suppose it was well past his bedtime by then though.