Lyric Opera's coupling of a gentle oneacter by Puccini with Mascagni's riproaring masterpiece started with a problem. Suor Angelica's scherzo-into-adagio function in the middle of the symphonic ordering of the three works that make up Il trittico makes it less than effective as an opener. It starts with a long look at the minutiae of convent life, a kaleidoscopic sequence of complicated ensemble for a large cast of lesser characters, among which there were strong performances from Deirdre Cooling Nolan and Sandra Oman.
Conductor David Heusel wisely opted for safe speeds during this opening exposition, but at the cost of sacrificing the contrast that should mark the two halves of the opera. As the eponymous heroine, a young noblewoman whose out-of-wedlock motherhood is the reason for her incarceration in the convent, Constance Novis engaged our sympathies by her gentle demeanour. But she lacked the strong vocal presence needed to dominate the later scenes and her performance was compromised by a tremulous top. Conversely, mezzo Nadine Chery was frighteningly effective in her short appearance as Angelica's indomitable aunt.
Mascagni's less sophisticated scoring allowed Mr Heusel to move Cavalleria rusticana along briskly. The strong cast was dominated by Tamsin Dives's towering performance as Santuzza. Although sometimes vague in pitch, her resonant soprano bestrode the heavy orchestration effortlessly, and her subtle use of dynamics enhanced an already convincing portrayal.
Khosrow Mahsoori was a lighter-voiced Turridu than usual, but his cleanly-focussed tenor and good stage-presence compensated for any lack of vocal weight. His farewell to his mother was particularly moving. John Fletcher forced his lightish baritone too much as Alfio, but Deirdre Cooling Nolan and Nadine Chery were again effective in smaller roles. The chorus sang lustily and with solid tone, but with too many individual voices obtruding.
