A Masked Ball

Adrianne Pieczonka as Amelia in the Canadian Opera Company production of A Masked Ball, 2014. Photo: Michael Cooper.

The Canadian Opera Company’s current production of Verdi’s A Masked Ball is one of the few operas that walks a razor thin line between comedy and tragedy.

The piece opens with Oscar (Simone Osborne) playfully inspecting the “ballroom” which looks like a 50s style social club. Enter Riccardo (Dimitri Pittas), a political figure who is presented as a leader who understands the common man and is beloved by those he leads. Immediately within act one we see that while on the surface Riccardo appears to be light hearted and worry-free, it is quickly revealed that he has fallen in love with Amelia (Adrianne Pieczonka), the wife of his dearest friend Renato (Roland Wood). It is clear that he is truly conflicted over his feelings of loyalty but is also tortured by his desire. To add to this immense internal turmoil, Renato warns Riccardo of a plot against his life which Ricardo promptly dismisses. He turns the threat into a joke by using the information to test Ulrica (Elena Manistina), an oracle who’s ability to see the future has come under suspicion so much so that she is facing banishment.

It is this combination of arrogance and naivety that eventually brings Riccardo’s reign to an end. It is in his mocking of Ulrica that we see Riccardo actively tempting fate and branding himself invincible, a fatal error with severe consequences. This piece expertly examines the human response to great power, immense love, undying loyalty and tragic betrayal.

Of particular note is the performance of Canadian soprano Pieczonka. Her portrayal of Amelia is at times quite heartbreaking and her exemplary vocal skills are perfectly suited to this role. She is always a joy to watch and a must-see in this production.

Visually this piece is interpreted with the intention of presenting an American late 50s to early 60s theme, however, while the costumes are interesting on an individual level, as a whole the stage looks disjointed, as there is no clear definition of era and often the costumes are slightly distracting in their variety. The set is designed to highlight significant design elements of 60s décor which is achieved, however, given the two intermissions this show includes, I would have expected at least one significant set change. The audience is often left to imagine key elements of the setting and it is an unfortunate distraction from the stunning talent on stage. Luckily the musical composition paired with extraordinary vocal skills takes the lead in showcasing this piece for the powerhouse that it is.

Commonly referred to as Verdi’s love poem, this intricate piece is musically breathtaking, rich with talent, and just in time for Valentine’s Day.

A Masked Ball runs until February 22 at the Four Seasons Centre for the Performing Arts. A reminder to those under 30, the Canadian Opera Company offers a great Opera Under 30 program, full details are available on their website. Visit coc.ca for more information and to buy tickets.

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