Giuseppe Verdi’s Ernani (1844) holds an interesting spot in the great Italian composer’s operatic repertoire: it is not quite as raw as his other formative works like Nabucco (1842), and seems light years away from the sophisticated music drama of Rigoletto (1851) and La traviata (1853). Its score largely adheres to the strict conventions of earlier 19th-century operas by composers like Bellini and Donizetti. As a result, a successful Ernani hinges on the casting of singers who are able to deliver its considerable bel canto demands. Toronto’s VOICEBOX: Opera in Concert (OIC) provided four outstanding artists who breathed life into Ernani’s somewhat creaky, convoluted plot for a single performance on February 25th at the St. Lawrence Centre for the Arts.
Any opera company would have a difficult time assembling a worthy cast, let alone a small outfit like OIC, which celebrates its 50th anniversary in 2024. The company has built its legacy presenting rarely heard operas, featuring all-Canadian casts. The company’s General Director, Guillermo Silva-Marin, managed to pull together a very evenly-balanced troupe, all debuting their roles, fully memorised and lightly staged. The always reliable OIC Chorus, led by Robert Cooper, were likewise sans-score and delivered well-articulated Italian. With a few more singers, their full effect would have been more impressive still.
The opera’s titular role, a Pavarotti favourite, is odd: the character only gets one true aria (at the very beginning), thereafter mostly participating in duets, trios and large ensembles. Tenor Rocco Rupolo is blessed with the most sunny, Italianate of vocal colour, and his tall, handsome comportment was well-suited to the role. While a little reticent with his top notes in his opening cavatina, he pulled out pinging high tones in the ensuing quicker, more decorated cabaletta.
As Elvira, the object of not one, but all three male principals’ attention, soprano Andrea Núñez made a startling role and company debut. Last season, she sang the lighter, soubrette role of Adele in OIC’s sister company, Toronto Operetta Theatre’s Die Fledermaus. As Elvira, she decidedly threw down the gauntlet, signalling that she is ready to move into bigger lyric repertoire. Núñez offered gorgeous, burnished tone, fabulous high notes, and most important for the Verdian repertoire, a seamless navigation of her lower chest voice, which is as clearly projected as her top. She is also making great strides as an actress, thoroughly investing herself physically in the role, perhaps to best effect in her plea to Ernani not to kill himself, at which point she unleashed great washes of gorgeous, steady tone.
As Don Carlo, King of Spain, baritone Alexander Hajek proved he has the requisite rich sound, secure upper register and lyric legato vocal emission one expects of a Verdi baritone. His aria, “Oh de’verd’anni miei” elicited cheers from the audience, and was definitely one of the highlights of the afternoon. As Gomez de Silva, baritone Justin Welsh offered the biggest sound amongst the soloists, absolutely secure throughout the role’s demanding range, all delivered with admirable dramatic intent. This long, demanding role presages the great bass roles in Verdi’s catalogue such as Fiesco in Simon Boccanegra (1857) and Philip in Don Carlo (1867). It will be interesting if Welsh continues to mine this vocal fach.
Holding everything together musically at the piano was Music Director Narmina Afandiyeva. She made one forget the absence of an orchestra – sensitively giving space to the soloists when required, while maintaining propulsive tempi in the multiple large ensemble numbers.
The next work in OIC’s “Verdi Unbound” season will be the uber-rare La battaglia di Legnano on April 7: www.operainconcert.com
