Review: Il Segreto di Susanna and Pagliacci – A Double Dose of Sexual Jealousy

The Opera Holland Park season is in full swing with a captivating new production of Leoncavallo’s Pagliacci, directed by Martin Lloyd-Evans. This production is notably paired with a revival of John Wilkie’s 2019 staging of Ermanno Wolf-Ferrari’s Il Segreto di Susanna, instead of the usual Cavalleria Rusticana by Mascagni. Although both works delve into themes of sexual jealousy, their approaches are vastly different.

Pagliacci explores an actor’s descent into madness upon discovering his wife’s infidelity. On the other hand, Wolf-Ferrari’s 1909 comedy, Il Segreto di Susanna, presents a lighter take. Susanna’s “secret” is her smoking habit, which she hides from her husband Gil while he is away at his club. Gil, however, misinterprets the lingering smell of tobacco and assumes she has been unfaithful.

Wilkie’s production transports the setting to the early 1930s, exuding an art deco elegance that feels reminiscent of a Noël Coward play set to music. Clare Presland and Richard Burkhard, both excellent singer-actors, bring Susanna and Gil to life with stylish performances. Though recently recovered from illness, Presland faced minor moments of strain during opening night. Their on-stage disputes and reconciliations are humorously overseen by their overworked servant Sante, portrayed by John Savournin. In the pit, John Andrews masterfully conducts an eclectic score, drawing influences from Mozart to Debussy, and Bellini to Verdi.

On the other hand, Pagliacci delivers intense drama, elevated by powerful performances from David Butt Philip debuting as Canio, and Alison Langer as Nedda. Lloyd-Evans’s decision to place the opera in the 1940s underscores the grim reality of domestic abuse, making the narrative painfully relatable. The production initially takes a moment to build momentum, with Tonio, played by Robert Hayward, delivering the Prologue to an onstage audience rather than directly to us, creating a slight disconnect. However, Lloyd-Evans’s sharp insights quickly take hold, resulting in a gripping experience.

Harry Thatcher’s portrayal of Silvio is notably manipulative and unsettling, straying from sincere affection. Tonio’s behavior towards Nedda, mirroring Canio’s, adds to the predatory atmosphere within the opera’s play-within-a-play structure. The final 20 minutes of the performance reach an uncomfortable intensity, as intended. Butt Philip’s performance is striking, with his eloquent phrasing and resounding high notes. Langer offers an exquisite rendition of Stridono Lassù and confronts Butt Philip’s character with fierce intensity during their most climactic interactions. Hayward’s Tonio is violently menacing, while Thatcher’s Silvio, though charming, lacks depth.

Conductor Francesco Cilluffo propels the score forward with relentless energy, and the City of London Sinfonia performs with fiery intricacy. The choral singing is equally impressive, contributing to an overall compelling production.

• At Opera Holland Park, London, until 3 August

Source: The Guardian