Maynooth University Department of Music  
SUBMISSION COVERSHEET (2022-2023)  

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Module Code    MU307A
 
Module Title    Opera in Context
 
Tutor/Lecturer Name    Antonio Cascelli and Christopher Morris
 
Published Deadline    11/11/22
 
Date of Submission    11/11/22
 
  
Submission Title   Fromental Halévy’s La Tempesta opens Wexford Opera Festival
 

Word Count/Duration    330

 
  
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Fromental Halévy’s La Tempesta rises from the ashes after 170 years to open the 71st Wexford Opera

Festival. Director Roberto Catalano reimagines this version of William Shakespeare’s The Tempest,

through his use of action, characters and staging.

Catalano’s adds his own twist to the opera by creating more female vocal leads. Originally the role of

Ariele was mute and performed by a dancer. In this rendition, Irish Soprano Jade Phoenix captures

the mischievous spirit of Ariele through her electric stage presence and smooth vocals. Although

Sicorace didn’t appear physically on stage, Emma Jüngling still managed to convey a striking and

alluring performance.

The set is monochrome and minimalistic. Black and white clothing is used to represent evil and

goodness, leaving no room for moral ambiguity. Ferdinand and Miranda wear matching outfits to

signify their compatibility. Alfonso, Antonio, Duke of Naples and their courts wear black clothing.

Caliban wears a unique shade between black and white, leaving the spectator to interpret what side

he is on. I found the wardrobe choices were used as a clever way of depicting the motives of each

character.

Soprano Hila Baggio’s exquisite performance of Miranda was absolutely enticing. She injected

energy and charisma into her role and displayed impressive vocal stamina. Baggio captured the

juxtaposing innocence and fearlessness her character possesses through her undeniably charismatic

stage presence.

Using his strong stage presence and powerful baritone voice, Russian baritone Nikolay Zemlianskikh,

captured the essence of his role as Prospero with great class. Zemlianskikh’s musicality and dramatic

stature contributes to his engaging opening romanza. In this version of La Tempestra, Prospero is no

longer the main protagonist. Instead, he is often seen in the background clutching his book of magic,

undergoing no character development or moral transformation. I would have liked to have seen

more from Prospero in this opera.

After watching this opera be performed after so many years I was left to ponder, should great operas

be performed regularly or should they be left to maturate to let the spectators build expectations in

their minds?