Playwright: Giuseppe Verdi ( music ) , Francesco Piave ( libretto ) . At: Lyric Opera of Chicago. Tickets: 312-332-2244; www.lyricopera.org/tickets; $33-$207. Runs through: Nov. 23
The production is brand-new and sumptuous, but Ernani is old-fashioned opera done the old-fashioned way. No high concept, no modern dress; just stand-and-sing, love-and-vengeance 19th-century Italian opera with a short, squat tenor and a shorter squat baritone in high-heel boots. The tall, trim basso stole scenes merely by contrast. Even Scott Marr's scenic design uses a wing-and-drop concept that was old-hat when Ernani was new in 1844, although it's richly handsome for all that, inspired by Moorish architecture. Ernani is what it is. Enjoy its bravura qualities or just stay home.
Based on a Victor Hugo play that helped usher in the Romantic Era in literature, Ernani is set in Spain in 1519 and concerns the love quadrangle of noblewoman Elvira ( mezzo ) , old Duke Silva ( villainous basso ) , Spanish King Carlo ( baritone ) , and impoverished ( by Carlo ) nobleman Ernani ( tenor ) . All three guys love Elvira, but what they do for love is nothing compared to what they do for their traditionally thick-headed version of honor, which ends with someone dead and everyone unhappy. Hey, what's opera, Doc?
The four principals are excellent and well-matched in this ensemble work. Salvatore Licitra as Ernani has a youthful, supple voice. He sounded not-quite-warmed-up at first ( he claimed a sore throat ) but soon was fine. Boaz Daniel, as Carlo, delivers with clarity and power, and appears to enjoy his bombastic role. Giacomo Prestia's Silva is sufficiently oily and his piercing basso rings true. Berwyn-born Sondra Radvanovsky makes the coloratura of her opening aria look and sound easy, which is a hallmark of a confident and accomplished singer. Her long, elegant gowns ( also designed by Marr ) hide the leg cast she wears ( torn ligament ) , which slow her down but give her movements a stately and dignified quality.
Of course, the ensemble nature of Ernani also is one of its limitations. There's no mad scene or spectacular sextet ala Lucia, no catchy tune a la "La donna e mobile," no extended romantic duet a la Puccini'swell, almost any Puccini opera. Giuseppe Verdi's music is characteristically melodic and forceful ( I think of his style as manly ) with often-symphonic orchestral parts, but none of it is spectacular. Opera houses which produce Ernani may be tired of hearing it, but it's true: Verdi's greater work was yet to come. Still, Ernani actually is a well-integrated musical drama, unusual for its time. Among the musical highlights is a typical Verdi patriotic chorus about Iberia. However, the Italian audiences of 1844 understood that Verdi was stirring up sentiment for Italy's independence from its Austrian overlords, ironically the descendents of King Carlo.
As ever, the Lyric Opera orchestra and chorus are outstanding. Renato Palumbo is the welcome guest conductor. Jose Maria Condemi is the stage director.