A soft moonlight is thrown across Venice as we meet a masked lady remorseful of her past and seeking affection when she meets the soldier Gennaro, who seems to reciprocate her interest. This is until his friends recognise the lady as infamous murderer Lucrezia Borgia, and his admiration turns to horror. Literal barriers form between the two as the iron gates of the palace of Borgia are pulled across the stage in a dynamic use of set.
With this we’re transported to the city of Ferrara, where Gennaro removes the letter ‘B’ from the iron gates to show his dislike of the Borgia family. Furious that the word ‘orgy’ is now emblazoned across her palace, Lucrezia orders the vandal to be immediately executed, despite not knowing who it is. This gives her husband, the Duke Alfonso, a perfect excuse to murder Gennaro, who he falsely believes has slept with his wife, as well as giving the audience an excuse to giggle at the word orgy.
The combination of smoke pouring from the stage and cold lighting heighten the intimidating environment as Duke Alfonso’s thugs capture the unsuspecting Gennaro. At this point, Gerry Cornelius’s ensemble of periodic instruments shines, building tension with the music’s tempo till the argument between the Duke and Duchess comes to a climax.
Fortunately, Gennaro avoids the Duke’s attempt and we end with Lucrezia indulging in her past sins, poisoning Gennaro’s friends to avenge their harsh words in Venice. She interrupts the gentlemen’s party in a black garb complete with golden crucifix and bejewelled veil, in total contrast to the plain white clothes of the gentlemen. Lucrezia discovers she has unintentionally poisoned Gennaro, who she thought had fled Ferrara, and she reveals her identity as Gennaro’s long-lost mother. Choosing not to alleviate Lucrezia’s guilt by taking the antidote, Gennaro dies alongside his comrades and leaves his mother alone to lament her actions.
With a last-minute change bringing Katherine McIndoe to the role of Lucrezia Borgia, the cast delivered high-energy theatrics punctuated by soprano thrills, a menacing bass, and the occasional knife fight.
I was nervous to review this as my first experience of opera, but I have come away with a new mission to encourage as many young people to attend as possible. If you have a flare for the dramatic, there could be nothing better than spending just over two hours watching the unfortunate events of Lucrezia Borgia unfold with such an atmospheric production.
The English Touring Opera is in the midst of its spring tour of three different productions: Giulio Cesare, Il viaggio a Reims and Lucrezia Borgia. It is visiting Norwich, York, Durham, Chester, Cambridge, Snape Maltings, Canterbury, Cheltenham, Buxton, Leamington Spa and Exeter. More information available here.
Photo credits: Richard Hubert Smith