A welcome revival this, with several replacements to the original Vienna showing - most significantly the romantic soprano and tenor leads who are undertaking their roles for the first time in the house (indeed with the latter in a role debut), and who both eclipsed memories of their 2014 predecessors.

In the title role, Anna Netrebko brings considerable more vocal (and physical) substance to Adriana than Angela Gheorghiu. The role clearly demonstrates that the Russian soprano’s technique is much more at home in the world of verismo than in bel canto, with numerous opportunities well-taken - if unfortunately too often marred by familiar intonation issues in her mid-range, weakening an otherwise generous line spent with rich, warm, timbre. An initially wayward vibrato evened-out as the evening progressed with Netrebko producing some ravishing sounds above the stave - interestingly, never “floated” but often taken as well-poised decrescendi, and - if repetitious - nevertheless seducing to good effect. The characterisation is sympathetic and personable, and underscored by a quite exceptional tenor-soprano rapport filled with passion and evident compatibility.

While not truly Italianate in timbre, Netrebko’s tone has now sufficient depth and chest nuances to successfully make her mark in the role’s more fiery moments, bringing the sorry tale to a close in a gripping final scene with her tenor and baritone colleagues.  
Presumably well practised, the soprano crowned the show by deftly nabbing a high-flying bouquet from the stalls at her solo curtain.   

Piotr Beczala - in top form on this occasion - is as close to an ideal Maurizio on today’s opera circuit that one can hope for. His stature and stage demeanour underscore a vocal showing which combined pure lyricism and unhindered emission (occasionally still hinting at Nicolai Gedda in his heyday) with ample vocal “meat” and reserve to score a triumph both artistically and with the house at the final curtain.

Returning from the Vienna premiere series to the Principessa di Bouillon, Elena Zhidkova was faced in this run with sterner stage competition and came over as a touch small-scaled despite her intense focus, svelte appearance, and many fine vocal moments. 

Roberto Frontali also seemed under par in this revival (having left a strong impression in the original cast) - rather brittle in tone and lacking the introspective poise which made his earlier reading so touching.

In contrast, Raúl Giminéz excelled as Abate, as did Alexandru Moisiuc as Il Principe di Bouillon, in an otherwise solid supporting cast.

In the pit, Evelino Pidò generally favoured brisk, taut, tempi while appropriately allowing sufficient leash for his soloists to savour a showcase phrase, in addition to maintaining adroit dynamic regulation and guaranteed pit-to-stage balance throughout. Both the Vienna Opera Orchestra and Chorus were in fine fettle - the former receiving final accolades on a par with the solo leads.