The pit’s tame opening pizzicato rather signaled the tempered repertoire evening in store for this Ballo cycle - albeit with some surprises and positive notes.

Conductor Jesus López Cobos echoed his previous readings of the score - overall rather wanting in structure and tension, often languishing in tempi, and occasionally at odds with the activities on the stage. Furthermore, a possible lack of impetus from the pit left the chorus and supporting roles rather lax on this occasion.

The Amelia, Oscar and Ankarström were grouped together in last year’s January revival of this Gianfranco de Bosio 1986 production.

This time round Kristin Lewis (Amelia) turned in a lacklustre performance, cooly-nonchalant in energy and alarmingly tentative above the stave. Her lower and middle registers remind somewhat of the great Martina Arroyo in her heyday, but on this evening Lewis’ upper range seemed unwilling to bloom - cautious, and producing emaciated wiry tones unable to provide the grand sweep Verdi demands. A disappointment considering previous showings in the house.

Maria Nazarova has further incorporated her sparky temperament
into Oscar’s playful manner, in ideal rapport with Gustav, and only slightly disappointing in one or two of her vocal flights which lacked the ideal sense of abandon.

George Petean can almost claim de Bosio’s Ankarstöm as his own - with so many performances in this production to his credit. While always reliably solid, the reading risked being additionally stolid on this evening with "Alla vita che t’arride" a touch wooden, and ensuing scenes somewhat flat. However, Act 2’s "Eri tu che macchiavi" displayed more zest and managed to draw the first solo applause of the evening.

Giving her State Opera debut, the South African mezzo Bongiwe Nakani instilled Ulrica’s one-act scene with character, using her well-schooled and interestingly-coloured mezzo to good effect. If a notch under-powered in comparison to top-flying predecessors, she tactfully phrased with taste, and resisted any temptation to push beyond her limits. 

Following his April 2016 success in this production, Piotr Beczala returned as Gustaf III, and sang with superb eloquence and generous phrasing, while cutting a striking and sympathetic figure. His all-round performance was a definite cut above his colleagues on this evening - and the audience acknowledged the fact. However, there were - or are - worrying vocal issues which became transparent as the evening progressed, with mezzo forte or piano passages sounding porous (and indeed on two occasions with notes actually briefly cracking). 
Nevertheless, "Ma se m’è forza perderti" was the unquestionable highlight of the evening, further crowned by "Si, rivederti, Amelia…" which roused deserved bravos from around the house.