Adam Plachetka (Alidoro), Elena Maximovz (Angelina)

Overall this was a good subscription evening, with a well-balanced and energised cast who have appeared at different times in the production since its 2013 premiere (reviewed here on February 14 that year) - all with the exception of the Don Ramiro and Tisbe.

The lure of this current revival was unquestionably the State Opera debut of Michael Spyres in the tenor lead.  Sensitive phrasing, accurate fioriture, and considered nuances in his stage work are impressive, with a tenor deceptively broad in its mid-range (and displaying considerable swell to the tone) setting the listener’s expectations above the stave for a more substantial top - but one which ultimately remains purely leggiero. As such, not a “classic” choice in the even-scaled line of Alva or Araiza (to name but two) but certainly an auspicious debut, whetting appetites for greatly differing challenges in the future. 

Elena Maximova returned as Angelina in a lovely, sympathetic performance and portrayed with winning sincerity while exhibiting competent rather than dazzling Rossini vocalisation - but re-establishing her value as a flexible contributor to the house’s repertoire.

Dandini and Don Magnifico seemed particularly “hyper” in this revival - indeed, both figures rather leant rather toward caricature with something of a hollow ring to them. Alessio Arduini (Dandini) provided the darkest vocal colour (and slightly sketchy scale work) among the bass-clef roles, with Pietro Spagnoli (Don Magnifico) oddly bright-timbred and hectoring, but technically and stylistically first rate.

Adam Plachetka (Alidoro) appears to go from strength to strength as a performer, and while - again - leaning toward a “heady” rather than basso cantante delivery, was vocally sovereign, with his compelling "Là del ciel" one of the evening’s highlights.

Ileana Tonca repeated her delightfully lemon-drop-mouthed Clorinda - well-paired alongside ensemble member Svetlina Stoyanova (who evidently relished her first Tisbe in the house), and with both ladies scantilly sporting ballerina-like figures and well-rehearsed rapport.

Hand-picked members of the State Opera’s male chorus (including four wonderfully underplayed cross-dressers) all made an important contribution to the fun. 

Conductor Speranza Scappucci last conducted the work here in 2016 - and while essentially competent, this reading suffered hints of wayward coordination between pit and stage, while lacking the ideal cystalline sparkle unique to Rossini, and delivering an occasional orchestral wall which blanketed the cast.