<<  -- 12 --  Roderic Dunnett    VERGING ON LONDON STANDARDS

Kompaniyets-Jouri's Elisabeth had a variable Scene Two, but the royals' casket argument was explosive and searing; a pity that the giveaway photo of Carlo was (anachronistically) in colour. Better still was Eboli's great lament at being exiled : an aria that revealed the magnificent richness of Ryadchicova's lower registers. Diamond-effect lighting skilfully intensified the prison scene : Johnston's final Posa aria was well worthy of the Royal Opera House; his death was suitably poignant; likewise Tebaldo's.

Like the most sizzling Shakespeare, Verdi moves the action on here as briskly as a Hollywood movie. Subsequently Elisabeth, albeit slightly pinched on fluted high notes, had perhaps her best scene, well served by (especially) flutes and clarinets. James Gower's closing sequence (as the revealed, pardoning Charles V) was first rate (it was rewarding for his audience that Robert Secret engaged a duo of such fine young basses), although two slight awkwardnesses -- both visual (a delayed curtain) and aural (the orchestral ritardandi) fractionally marred the close. But a magnificent achievement for Stowe Opera : summer visitors to the UK would find these two first-rate companies -- Dorset and Stowe -- well worth seeking out.