Brandon Jovanovich (Enée), Joyce DiDonato (Didon)

In Vienna - following presentations in London, Milan, and San Francisco - David McVicar’s opulent Les Troyens brings an entirely new cast and two compelling reasons for top listing in any operagoer’s diary: Joyce DiDonato’s first staged Didon, and the breathtaking performance by the State Opera Orchestra under Alain Altinoglu.

The former is arguably at the pinnacle of her vocal career, and, as anticipated, brought her customary artistic flair, dramatic instinct and sublime musicianship to a flesh and blood character of poise and passion. DiDonato’s voice has blossomed in its range of decibels and colours without sacrificing any of its seamless ability to move within her dynamic range in all registers - and here undoubtedly proving her affinity more toward this, rather than the Italian repertoire of the same period. What a singular, and fascinating, Carmen she might make!  
Didon’s entire scene in Act 5 was testament to what opera should really be - an unfeigned amalgam of all the essential elements in “art which conceals art”. 

Almost four decades have passed since the work was seen in Vienna with the current mammoth undertaking featuring an orchestra of 85, some 100 chorus members (plus a children’s chorus) - in addition to the large cast of soloists, ballet and stage extras. Aside from minor cuts (which could ideally have been more generous) in ballet scenes, this production presents Berlioz’ complete score. The director re-worked the Vienna version, which, with its imposing sets (Es Devlin) sits squarely in the 19C industrial revolution utilising elements such as machined wheels and weaponry for constructions including the massive Trojan horse - all complimented by costumes of the period which wink at the Crimean war of the day.

The entire stage is generously filled, with Carthage a supplementary model for Dido’s opening and which later serves as a suspended light fixture with star-like sparkle for Act 4’s “Nuit d’ivresse,” only to be rent in twain for the tragic finale. Many images stun (augmented by Wolfgang Goebbel and Pia Virolainen’s effective lighting), but oddly eclipse interaction between the protagonists which remains often barren and bound by stock operatic gesture.   

The ballet (choreography, Lynne Page) lacked originality, and could easily have been plucked from much of the standard classical repertoire, and indeed was justified largely to echo the Paris tradition of the day.

Naturally all the soloists are performing their roles for the first time in this house, while Brandon Jovanovich brings previous experience to his Enée from stage performances in the United States. Hewn from an elemental virility, this showing was initially striking in its manly presence and full-toned mid-range, but revealing highlights in the more lyrical passages rather than in wilful efforts in the part’s dramatic extremities which were plagued by vocal distress and intonation issues. Ultimately - alongside his leading lady’s polish and style - this Enée, alas, remained a touch lacklustre.

An appreciative audience accorded Monika Bohinec (replacing the scheduled Anna Caterina Antonacci from the original cast) a well-deserved triumph for her intensely-focused and vocally solid Cassandre. 

The remaining cast included strong contributions from ensemble newcomer Szilvia Vörös (Anna), Benjamin Bruns (with his skilfully-chiseled Hylas), Rachel Frenkel (convincing as Ascagne), and a sonorous Jongmin Park (Narbal) - in addition to Paolo Fanale (Iopas) and Adam Plachetka (Chorèbe). The young promising bass, Peter Kellner (Panthée) and Anthony Schneider (who made much of his opportunity as the Ghost of Hector) too deserve a mention.

The State Opera Chorus met the evening’s vital challenge with aplomb, while Alain Altinoglu proved his mettle in a superlative reading, finely sculpted, and propelled by an energetic drive which transported the four-hour-plus evening with equanimity.