The plot of Mascagni’s Isabeau is pure tosh, of course, but this traditional production is redeemed by excellent singing and characterful music
Isabeau Opera Holland Park, London
Pietro Mascagni is supposedly a one-hit wonder with Cavalleria Rusticana. But Holland Park Opera don’t agree, and this Isabeau is their fourth attempt to prove there is more to him than Cav.
Isabeau, with a score heavily influenced by Wagner and Richard Strauss, and a libretto by Luigi Illica, originally intended for Puccini, for whom Illica co-wrote La Bohème, Tosca and Madam Butterfly, cannot be lightly dismissed.
Indeed, after its premiere in Buenos Aires in 1911, it received simultaneous Italian premieres the following year at La Scala and in Venice, and was very well received. The original male lead sang the role almost 400 times.
The orchestra, under an impassioned Francesco Cilluffo, play their hearts out. The chorus, who have plenty to do here, truly excel
But like most Mascagni, it sank without trace after World War II, and will now be regarded as little more than a curiosity, albeit a fascinating one.
This story is based largely on the legend of Lady Godiva. The wilful Princess Isabeau (Anne Sophie Duprels) resists the demands of her father King Raimondo (Mikhail Svetlov) to marry one of an array of suitors, and is punished by being forced to ride naked through the streets.
The populace are forbidden to look, but one, the forester Folco, not only peeps but showers her with rose petals. The baddie, the king’s adviser, Cornelius (George von Bergen), arranges for Folco to be blinded and killed. He is joined in death by Isabeau, who has fallen for him.
Pure tosh, of course, but redeemed by some excellent singing and characterful music. Duprels is, as always, terrific; David Butt Philip as Folco shows yet again what a prospect he is; and there’s a first-rate cameo from the veteran Fiona Kimm as Folco’s granny.
The orchestra, under an impassioned Francesco Cilluffo, play their hearts out. The chorus, who have plenty to do here, truly excel.
The production, by Holland Park regular Martin Lloyd-Evans, will be controversial because it’s very traditional. I like it, because when you’re dealing with a totally unknown opera, why wouldn’t you do it as the composer intended?
This Isabeau is yet another feather in the cap of the Holland Park du-umvirate James Clutton and Michael Volpe, who are best regarded as English National Opera in exile.
Will they be called to the Coliseum before ENO finally collapses, as it continues to threaten to do, with more small furry creatures swimming away from the sinking ship?
Let’s hope so.
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