IF Opera – Rigoletto & Orpheus in the Underworld, Church Farm, 2025
IF Opera’s move from the stately lawns of Belcombe Court to the working idyll of Church Farm has brought with it a pleasing blend of rustic charm and artistic ambition – plus the novelty of rescue donkeys grazing contentedly in the neighbouring field and a pop-up restaurant, The Cowshed, buzzing with festival-goers.
The opening night of Verdi’s Rigoletto found the weather as grey as the jester’s fate – a damp evening ill-suited to the usual picnic spread but perfectly matched to Verdi’s unrelenting tragedy. The production from Nina Brazier didn’t attempt anything particularly different; there was no bold reinterpretation, and the costumes were straight out of the standard Renaissance wardrobe. Instead, the staging let the drama and music do the heavy lifting – and with a cast this strong, that was no bad thing.
The title role was delivered in a remarkably powerful vocal performance from Alexey Gusev, above, – utterly convincing in its portrayal of both the anguish of a father and the tormented soul of a cursed, deformed human being. Gilda’s role was sung with great tenderness by Inna Husieva, her innocence and devotion piercing through the surrounding darkness. The Duke from Andrés Presno was perfectly arrogant, self-preening and cynical, although – as always – it remains a puzzle why he seems to show genuine tenderness for Gilda. Alyona Abramova as Maddalena both looked and sounded ideal for the role, oozing earthy allure. Ronald Nairne’s Sparafucile was sung with sonorous brooding menace, with the smaller roles equally well cast. Thomas D. Hopkinson made a strong impact as Count Monterone administering a crushing curse on the head of Rigoletto.
Inna Husieva
The Bristol Ensemble, under the festival’s artistic director Oliver Gooch, gave Verdi’s score both sweep and bite, supporting the singers with crisp, well-shaped playing.
Centre Andrés Presno
Twenty-four hours later, the clouds had fled and Orpheus in the Underworld offered something altogether different – a narrated, madcap staging in the style of last year’s Fledermaus, Simon Butteriss was Jupiter who narrated the events, which meant that the king of the gods was not only part of the action but also our sly, lascivious omniscient guide through it. His knowing asides and dry humour stitched the whole evening together with easy charm.
Susie Buckle, Harriet Eyley, Katey Rylands, Matthew Siveter and Sam Marston
Robin Bailey
Harriet Eyley’s Eurydice was bright-toned and deliciously performed, Joseph Doody’s engaging tenor singing of Orpheus was beautiful and his acting showed the character as suitably hapless. Robin Bailey was a comic tour de force as a sexy, lascivious Pluto (disguised as Aristaeus) with plenty of winks and knowing gestures to audience members – and a matching attractive voice as well. Gráinne Gillis made a formidable Juno while Matthew Siveter, in the triple role of Mars, John Styx and Bacchus, stole scenes twice over – the dancing dog John Styx’s can-can brought the house down, and as Bacchus he was as cheeky as they come, with some suggestive grape placement for good measure. Katey Rylands’ Diana, Sam Marston’s Mercury and Susie Buckle’s Cupid all sparkled in their turns.
Simon Butteriss
The adaptation didn’t shy away from spicing up the English libretto with some contemporary irreverence. A scattering of cheeky anachronisms kept the laughs coming, but the biggest guffaw came when a line labelled Orpheus – a hapless tenor – as a “#tenor twat”, to which the audience responded with knowing laughter that rippled all the way to the donkeys’ paddock.
Susie Buckle, Katey Rylands, Robin Bailey, Gráinne Gillis, Matthew Siveter and Sam Marston
Rae Piper and Paul Chantry’s choreography kept the energy fizzing, and Michael Waldron, conducting the Bristol Ensemble with relish, ensured Offenbach’s fizz never went flat. The whole evening felt like a joyous cross between Offenbach, Gilbert and Sullivan and a cheeky panto – and judging by the laughter and applause, the audience relished every moment.
Susie Buckle, Joseph Doodey and Katey Rylands
With its blend of tragic pathos in Rigoletto and sun-drenched farce in Orpheus, IF Opera’s new home at Church Farm has shown it can host the full range of operatic experience – and perhaps even give the donkeys something to bray along to.
Main image Harriet Eyley and Joseph Doody
Rigoletto until August 16
Orpheus until August 15
Images by Craig Fuller Photography for IF Opera
The Festival also includes Baroque Double Bill: Historia Jonae by Giacomo Carissimi & Il combattimento di Tancredi e Clorinda by Claudio Monteverdi, Sunday 17 August and Picnic Prom: Clare Teal 25th Anniversary Tour on Sunday 10 August
Fore details and tickets:
