Oberto

Oberto is not one of Verdi's best, not being one of those operas that is perfect musically and dramatically like Otello, Rigoletto or La Traviata. It is not one of his worst though, the story did grab me more than those of I Lombardi, I Due Foscari and Il Corsaro. There are some familiar Verdi themes like with the father and daughter relationship and a historical setting, arguably they have been more compellingly used later on from Luisa Miller onwards, but even from his first opera there is a lot of promise. Likewise with the music, which is a mix of Bellini, Donizetti and bits of his own style creeping through, understandably though it is one of those scores where he was yet to properly find his style.

The opera is rarely performed, but two DVD productions available boast it from complete obscurity. This is one of them, and it is very well done. It is performed in a traditional setting, and it is one that looks atmospheric and beautiful to look at, with the costumes and sets suitable to the setting and the lighting fitting with the music and the characters' emotions. The stage direction has the intensity and poignancy the story needs, the chorus and the scenes with Oberto and Leonora are the ones that fare best. The production is excellent musically. The orchestral playing show tones and textures of gleaming beauty and power, the chorus play a substantial role in Oberto and sing and act with involvement and the conducting keeps things moving while being sympathetic to the singers.

Ildar Abdrazakov stands out among the principals. Well he has to as he is after all the lead role, maybe it was better to say that he was the one that came across as the most consistent to me. He has a very sturdy and handsome voice and acts with authority as well as coming across as a caring and later vengeful father figure. Evelyn Herlitzius matches him admirably as his daughter Leonora. It is a very demanding role and one that needs many emotions, done with intelligence by Herlitzius. Her large, rich voice is well suited for the role as well, if perhaps more suited to Wagner and Strauss. Not all the performers are as good though. Marianne Cornetti sings wonderfully with lots of firm tone and well-crafted lines, but here is rather matronly and static as an actress. Carlo Ventre is the least impressive, admittedly he does have to work with an underwritten character compared to the rest but his voice is more weighty rather than ardent and he not only shows few acting skills but also a sense that he was uncomfortable doing it.

All in all, very well done, not 100% perfect but well worth checking out outside of curiosity value. 8/10 Bethany Cox