Edgar review

Indeed, many pages, in this final 1905 version, prove worthwhile, even if it is obvious that, however skilful Tony Burke’s reduction for some 30 players may be, it can be no substitute for the full orchestration, creditable though the City of London Sinfonia’s performance is under the incisive baton of Naomi Woo. Creditable, too, are the leading artists, even if none of them, vocally, sound entirely on top of their material.

The plot is set in medieval Flanders, where the three central characters, led by either ne’er-do-well Edgar or Tigrana, are involved in a disconnected sequence of scarcely motivated incidents that ends with the murder by Tigrana of poor, innocent Fidelia.

As always, Anne Sophie Duprels flings herself into her role – that of Edgar’s aptly named faithful (if mostly ignored) tag along girlfriend – although her soprano at times sounds stressed. As unpredictable Edgar, Peter Auty acts intelligently, and as always conveys a sure sense of style, but his top range is cloudy. Gweneth Ann Rand brings passionate engagement to the tigerish Tigrana; but she, too, is vocally uneven. The fourth principal, Julien Van Mellaerts, brings distinction, if not quite enough heft, to Frank, initially Edgar’s rival for Tigrana, but later on her sick tormentor. James Cleverton fulfils all requirements as Gualtiero.

In her effective semi-staging, director Ruth Knight begins by showing the audience all three characters as children, giving us a backstory that helps fill some large holes in Ferdinando Fontana’s incoherent libretto. This is surely an opera for Puccini completists, who will not be disappointed by his immature score, as long as they don’t compare it with his later achievements; and even if the piece doesn’t begin to work as a drama, everyone involved in the production gives it their best shot.