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Based on the assassination of King Gustav III of Sweden at a masked ball, the intersection of social unrest and the complexities of human desire is the operatic formula that gives Verdi’s Un Ballo in Maschera its emotional friction.

Jan Philipp Gloger used Oper Köln’s unique stage effectively, with a simple yet striking set design, with opulent details. Riccardo, sung by Gaston Rivero, hangs listlessly off his chair, but is soon roused by the name of his love interest, and wife of his advisor Renato, being on the guest list of the next ball. His voice reflected all the tender excitement in La rivedrò nell'estasi, and complemented Simone del Savio’s supple baritone during the ominous warning about a conspiracy against him.

In this production, Ulrica is styled as a revolutionary figure, an interesting adaptation on the accusations of witchcraft made against her. Agostina Smimmero carried this with great power, and a thrilling chest voice. Her acting was not quite as dynamic as her voice, but her stage presence is undeniable, and she will undoubtedly grow into an even more formidable dramatic presence. Here the onstage imagery became extremely powerful, with dynamic movement and imagery of insurrection and rebellion - the chorus shifted seamlessly between bourgeoisie to revolutionaries, creating expressive tableaus and an effective atmosphere.

Astrik Khanamiryan conveyed great warmth in her voice, particularly in her conflict around her feelings for Ricardo, with great depth and colour through her registers particularly in her touching Morrò, ma prima in grazia. However the would-be lovers didn’t seem to find a comfortable connection with each other - the chemistry wasn’t entirely believable. The attempt to hide her identity as she is found by Renato carried the comedic aspects of a flimsy plan to escape an unfortunate situation, yet it wasn’t met with the necessary suspense. However, when discovered, the sense of betrayal and peril was intensified with the manipulative conspirators Samuel (Christoph Seidl) and Tom (Lucas Singer) agreeing to the plot to kill Riccardo. Their acting was slimy and sinister, and effortlessly created tension, as Amelia’s fate is decided and she must choose the name of the one who will perform the murder.

Chorus of Oper Köln, Dancers | Photo Credit: Sandra Then

The third act made excellent use of the stage, Andreas Gruter’s light design shifted the tone from ominous to something more spacious and warm, a false sense of security as the audience is aware Ulrica’s prophecy that Riccardo will die at Renato’s hand is moments away. The spectacle was captured with fantastic costuming by Sibylle Wallum, the detailed regal pieces with touches of absurdity, created an impressive on-stage atmosphere.

The harlequin-style dance and viennese waltz, juxtaposed with the menacing presence of the conspirators once they appear, gathered the drama and created a realistic portrayal of tragedy striking at a jovial event. Oscar (Riccardo’s page, sung by Hila Fahima), was a charming highlight throughout with fantastic movement and a voice marked with precision. She captured the meeting of comedy and tragedy, first laughing in disbelief at the seemingly surreal murder of Riccardo, then realising what had happened as he dances clutching the bloody wound in his side.

Chorus of Oper Köln, Dancers | Photo Credit: Sandra Then

As he falls, a group comes to topple his statue, a looming presence for the length of the opera. It was a dynamic finish to a good production, which was successful in the large pictures, but lost some potency in the interpersonal dynamics.