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San Francisco Opera's New Production of Verdi's 
Un Ballo in Maschera
—Assassination of a King
 

Renate Stendhal

It was a pleasure to see American tenor Michael Fabiano again on the San Francisco Opera stage, this time in an imported production (from Rome) of Verdi's Un Ballo in Maschera (A Masked Ball). Fabiano was not only in splendid vocal form but appeared embodied, relaxed, at ease, in  the role of Gustavus III, the Swedish king who was assassinated at a masked ball at the Stockholm Opera, in 1792. Gone was the lyrical tenor's awkwardness and stiffness that still marked the last few times I saw him (in Don Carlos andManon at SF Opera, reviewed in these pages, and in La Traviata at the Met). It seemed like an artistic development toward a fully rounded stage presence that will be interesting to watch.

The new Ballo was given in the "Stockholm Version" which sets the drama at the royal court in Stockholm, as Verdi originally intended. Gustavus III was an "enlightened monarch" with a highly cultivated court—a fact that stage director Leo Muscato (in his SF debut) hints at with many paintings in many scenes.

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Gustavus III, who built the Stockholm Opera and founded the Swedish Academy that accords the Nobel prizes, tried to be a king of the people and was eliminated by a cabal of aristocrats. But Verdi was not interested in the politics of the monarch. Based on a libretto by Eug猫ne Scribe for an 1833 opera by Daniel Auber, Gustavus III ou Le bal masqu茅, Verdi created a life -loving, insouciant Gustavus in a love triangle with Amelia, the wife of his most trusted courtier, Renato. The Italian censors, however, wouldn't tolerate a regicide onstage after the 1848 revolution. They also objected to the king's page Oscar, a pivotal soprano role. A scene in the brilliant biopic series The Life of Verdi shows the composer (played by Ronald Pickup) making fun of the censors. He sings what they suggested: the frivolous page boy as a soldier with a good, strong baritone voice.

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After a two-year battle, Verdi had to give in, but he retained his Oscar—the only trouser role in his 26 operas. In 1859, Un Ballo in Maschera premiered to general acclaim as the less incendiary story of a Duke in far -off (far-fetched) colonial Boston. Recent operatic style has reverted to King Gustavus III,  and both versions are performed today with minimal libretto changes.

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SF Opera's production stood out with excellent voices in the entire cast (several Adler Fellows among them). Apart from lyrical tenor Fabiano as Gustavus III, Mongolian baritone Amartuvshin Enkhbat (in his SF debut) was his friend and ultimate assassin, Renato His wife Amelia, who secretly loves the king, was Armenian soprano Lianna Haroutounian. The fortune -teller Ulrica was sung by Romanian  mezzo soprano Judit Kutasi (who made a strong company debut in last year's Lohengrin, reviewed in these pages). Oddly, the historical Gustavus consulted a fortune-teller named Ulrica, who also predicted his death. Oscar was charmingly sung and acted by Chinese coloratura soprano Mei Gui Zhang in her role debut—a young star in the making. Last but not least, the massive chorus was impeccable as always at SF Opera. The simple but pretty sets on a turning stage were by Federica Parolini. The costumes, by  Silvia Aymonino, were on the sober side except for Oscar who was dressed liked a fashionable commedia dell'arte character.

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Music Director Eun Sun Kim  kept a brisk tempo, highlighting the light -hearted "Offenbachian" notes of comedy and leaning into the lavish, sweeping melodies that run through the entire score. Leo Muscato's very basic, traditional directing, however, did not always match the height of Verdi's comedy and drama.

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The soloists and the chorus stayed in place most of the time and acted with stock gestures. Luckily, Oscar flitted around like a hummingbird, a relief from the immobility of the scenes. With a better direction, Fabiano's pleasing Gustavus would have had twice the fun he showed in his disguise as a fisherman at Ulrica's den, where he takes the court to test her fortune -telling skills. She reads in his hand that he will die, killed by the first person who will shake his hand. Verdi gives an extended aria to this revelation: Gustavus, who feels secure in the love of his people, laughs off the prophecy between brief pensive moments. A more pointed and defiant insouciance in Fabiano's acting would have added to the suspense of the scene.

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The poor mobility and acting became problematic in Act II, in the love scene.  Amelia has secretly visited Ulrica, asking for a remedy against her illicit feelings for the king. She must go to the gallows at midnight, alone, to pick an herb that will "change her heart." We see her staggering in horror between naked tree stumps, and just when she has perhaps spotted the vile herb (the billowing fog turns green), Gustavus appears. He has overheard her confession with Ulrica and now wants to hear her say to him just once that she loves him, too.

What a moment in the hands of a master like Verdi. The sea-saw of desire and guilt, fear and pleading, urgency and resistance is a fantastic brew. That both Fabiano and Haroutounian sing with intensity is not quite enough to transmit Verdi's passion. They are standing mostly apart, more like a married couple in an argument. Amelia's confession of love rises to a long sweep of ecstasy, but there is no chemistry between them. Twice the infatuated couple holds hands with outstretched arms; twice he lightly touches her shoulders, and that's all. No desperate clasping, no swooning, not even a final kiss. (As if by design, there aren't any production photos of this scene.)

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Renato barges in to save the king from the conspirators on his heels. While he dons the royal mantle to distract the men, Gustavus gets away. His veiled lady, however, left in Renato's care, is revealed to be Renato's wife. A secret tryst under the gallows between old spouses ? The mocking laughter of the men could have been more cutting, Renato's humiliation and Amelia's shame more searing.

If you want to see what can be done with the explosive emotions of this story, you must turn to the best on video. YouTube provides the exemplary: Placido Domingo and Katia Ricciarelli in a production by Otto Schenk, conducted by Claudio Abbado at the Royal Opera, in 1975. The image is not in HD, but the sound is excellent. You see, hear, feel the striking gap between a good production of Ballo and a great one.

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The last act fared better as the action sped up toward the ball scene. Amelia's remorse-filled pleas to let her say good-bye to her son before dying, are granted. Renato, who can't conceive of her sexual innocence (has any operatic bully ever managed the opposite?) pours out his grief. Enkhbat's big, burnished baritone has an emotional effect. He then turns his vengeance against the king, invites the conspirators, and a marvelous quartet ensues, with Amelia forced to draw the name of the chosen assassin from a bowl: Renato. The scene shifts to the King's remorse and his heart -sick resolve to renounce his passion and send Renato with Amelia to a different post abroad. A letter from an unknown lady warns him of his mortal danger, in vain. The ball begins. The scene is animated only by a few ballet couples. As Gustavus and Amelia say their final good-bye, the shot rings out.

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Fabiano now has his grand finale, the king's extended dying, with time to declare his love for Amelia "pure." He forgives Renato (as the real Gustavus III forgave his assassin). His singing here is stellar, beautifully modulated between passion and grief. In moments he sings with a breaking voice that culminates in a high-C in his justly acclaimed, sublime pianissimo.

Photos: Cory Weaver

 

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Renate Stendhal , Ph.D. (www.renatestendhal.com) is a writer, writing coach and interpersonal counselor based in San Francisco and Pt. Reyes. She has published several books, among them the award-winning photo biography Gertrude Stein in Words and Pictures, and most recently the award-winning Kiss Me Again, Paris: A Memoir. Her articles and essays have appeared intenationally. She is a Senior Writer for Scene4. For her other reviews and articles:, check the Archives.

©2024 Renate Stendhal
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