Un ballo in maschera

Un Ballo in Maschera is not my favourite Verdi or near his best. There is nothing wrong with the music or the characters, but like with a Verdi opera like Giovanna D'Arco for instance the story isn't always plausible. As much as I love the 1975 and 1980 productions, and I like the 1991 production too despite me not being entirely impressed by the acting, this is my favourite Ballo, as not only does Riccardo Muti do a superb job conducting but it is the only production I've seen yet where I didn't bother about the implausibilities of the story. The costume and set design are superb, and the video directing and sound complimenting it perfectly. When it comes to performances, all excel. Salvatore Licitra is more than convincing as Riccardo and Maria Guleghina is ravishing as Amelia, vocally and acting-wise. Cappuccilli is still my favourite Renato, but Bruno Caproni's performance is on point. There is also a very angelic and lyrical Oscar, but my personal favourite was Mariana Pentcheva in one of the more chilling and better portrayals of Ulrica I've seen. In conclusion, a wonderful production. 10/10 Bethany Cox

As I explained in my review of Un Ballo in Maschera (1975), Mrs G is at a conference in Belfast this week so I had the unusual luxury of watching two productions of this opera on consecutive nights. They just happen to be the earliest and latest of the six versions that are listed by IMDb. Pavarotti has committed it to film three times, Domingo twice and this latest stars Salvatore Licitra as Riccardo.

I was not impressed with the 1975 film and, I am ashamed to say, I put most of the blame on Verdi, suggesting that this was not one of his more inspired works. This 2001 production completely vindicates Verdi. It was so good that I could scarcely believe that I was listening to the same opera. Most of the credit for this goes to the conductor, Riccardo Muti, in an inspired performance that does full justice to Verdi's score. This production also shows that the version finally sanctioned by Verdi, with the action set in colonial Boston, works perfectly satisfactorily. It is not necessary to re-set it in 18th century Sweden, as do most modern productions, in order to make it work. So, instead of Ulrica the Gypsy, we get Ulrica the voodoo queen, played with bloodcurdling effect by Mariana Pentecheva.

This is an excellent-looking production from La Scala, Milan. Although the plot and the characters' motivation are implausible, the skill and pace of the production enabled me to suspend disbelief. Maria Guleghina is a considerable asset as Amelia. Salvatore Licitra is no Domingo, in fact he is more like the Duane Doberman of operatic tenors but he acquits himself well in this first-rate production.