For those of us who didn’t grow up with TikTok, soap operas were the original guilty pleasure, the thing respectable people rarely admitted to enjoying (but the real ones loved shamelessly). It wasn’t until I watched an Italian opera that I realised where soap operas truly found their inspiration. With the drawn-out moments of filler bookended by absolute melodrama when someone moves to Perth in Home and Away, the similarities are striking. Il Trovatore has all those things we love about opera, the betrayal, the self-sacrifice, the jealousy, all imbrued with passion. Verdi’s popular libretto also has the class struggle and a strong matriarchal undercurrent (of which an Italian story would feel empty without). Italian operas bring a level of chutzpah that’s unparalleled. It must be all that freedom the actors have to gesticulate. I refuse to believe the Italian language is intended to be spoken with anything other than operatic exacerbation.
James Clatyon in Il trovatore © West Beach Studio
Musically, it was one of my most enjoyable experiences I’ve had recently. Opening with a strong tenor chorus for All’erta! All’erta! that immediately set the precedent for the evening. Showcasing the exceptional talent of the deeper voices in Australia’s opera scene, this collaboration between West Australian Opera, State Opera South Australia and Opera Queensland is an auditory treat. The talents of Brett Peart in particular immediately gripped my attention. His presence was undeniable in every chorus scene. Another exceptional aural moment came towards the end of the first act with a profound woodwind presence.
Jessica Blunt in Il trovatore © West Beach Studio
The acting highlight of this production was the chemistry between Leonora (Naomi Johns) and Inez (Jessica Blunt) particularly in the second scene, with playful, slumber-party pillow-fight vibes as Leonora tells Inez about her love for the mysterious man outside her window. If you can look past the antiquated etiquette of such gestures, the physical comedy in this scene makes for fun viewing.
On the topic of changing times, it would be remiss of me to not refer to the outdated terminology for Roma people. Paired with their marginalisation and persecution within this narrative, some might argue that it should be viewed from the lens of its own time by modern audiences. The associated themes make this story a provocative one for those drawn to look deeper.
Il Trovatore is a highly charged operatic story backed by a delightful romantic score which will raise eyebrows from either the highs and lows of the narrative or the auditory whirlwind. Or maybe both.
Il Trovatore is presented by the West Australian Opera at His Majesty’s Theatre from Oct 16-25.