07/08/2026
Having had a little time to reflect on Immling’s Un ballo in maschera I am inspired to write a few words about the direction and production first, something I never do. Why? Well, because I am always wondering, if I know nothing of the production in advance, whether it is set in the royal court of Sweden or the residence of the Governor of Boston. It could, in fact, be set anywhere, the Oval Office, to reflect on Preston Opera’s version from 20-odd years ago. As soon as you hear the names ”Renato or Riccardo”, you know it’s the later version. However, the production by Verena von Kerssenbrock, sister of the evening’s conductor Cornelia, brilliantly amalgamated the two versions. Although set in “Boston”, the decadent and filthy rich colonial HQ was run like the court of Louis XIV by a governor who fancied himself as the king of all he surveyed, with outlandish costumes to match. Brilliant! But please stop the singers from throwing themselves around and acting out every word in dramatic, commanding moments. Did we really need to meet Renato and Amelia’s son? Jenish Ysmanov was a masculine Riccardo, dramatic or tender when required with a good top C in the love duet. Joanna Zawarto appeared to be a little light-weight at first, but soon delivered the goods. The Renato of Harry Hukasian was aptly dramatic with a good top. The star of the evening had to be the Oscar of Ekaterina Protsenko. The Russian born soprano dominated every scene she was in, showing that you don’t have to have be the star to shine. Not for one moment did she drop the zany character and half muse, half court jester. It was very reminiscent of Graham Clark in the old days playing Mime. It was a very enjoyable evening which even had Fran hooked.
