This revival was a pungent reminder of the potential pitfalls inherent in performing Bellini, with his deceptively “simple” accompaniments and exposed vocal lines presenting a unique challenge to pit and stage alike.

On all counts the cast suffered vocal, technical, and stylistic deficiencies - in part through miscasting, but in general through evident neglect in schooling and in the discipline of the Penofka and Concone exercises Callas so vehemently insisted upon in her famous New York Juilliard masterclasses.

An unfortunate state of affairs, since naturally the evening’s line-up brought individual attributes - some of which are familiar to the house in this and other repertoire.

Jongmin Park returned to Sir Giorgio - possibly displaying a notch of newfound weight and thrust to his tone, which (while effective in declamatory moments) nevertheless failed to compensate for a wanting Italianate line in a role essentially demanding a true basso cantante.

Singing his first Sir Riccardo in the house, Adam Plachetka valiantly attempted a stab at a part which won more through his imposing stature than through his less-than-ideal vocal timbre, and yet unpolished line. 

Ryan Speedo Green was more successful as Lord Gualtiero Valton 
while Ilseyar Khayrullova returned as a respectable Enriquetta di Francia, with young ensemble member Leonardo Navarro showing fortitude as Sir Bruno Robertson.

Dmitry Korchak presented his first Arturo in the house, and while essentially equipped with the appropriate vocal material for the character, blotted his reading with technical issues (poorly integrated registers, unsupported tone and failed projection, plus unreliable intonation) - all naturally thwarting interpretative efforts, and leaving a lacklustre impression.

Giving her house debut, Venera Gimadieva lent Elvira some winning lyrical passages in her mid-range, coupled with an endearing stage presence and evident musicality. However, the expanse of Bellini’s lines (not to mention the composer’s scales and fioriture) outstripped the soprano’s capacities - eventually resulting in a rather pedestrian showing. The Russian soprano decided to omit the top D in Act 3’s “Vieni fra queste braccia..”, and it would have been prudent for Mr Korchak to have made the same decision.

Evelino Pidò was faced with a difficult challenge, and possibly one which featured too few rehearsal options. At any rate, pit to stage synchronization was less-than-ideal at times, with pressed tempi and a lack of elegance which was not enhanced by several blatantly unhappy moments in the brass section. 

In all, a sapless revival to mark the 63rd showing of this Dew/Balthes/Vasquez production, which premiered in 1994 with a cast starring Edita Gruberova, Marcello Giordani and Dmitri Hvorostovsky.