La Sonnambula – The Metropolitan Opera, New York

Opera tenor Rolando Villazón’s directorial debut at The Met hits the high notes with Bellini’s infrequently staged opera about a young woman who sleepwalks, in this co-production with the Royal Ballet and Opera that was delayed from the pandemic-struck 2020-21 season.

The orphan Amina (Nadine Sierra) is about to marry Elvino (Xabier Anduaga), a wealthy landowner. Lisa (Sydney Mancasola), the innkeeper, is jealous as she also loves Elvino. A visiting stranger, Count Rodolfo (Alexander Vinogradov), arrives in the village. That night, Amina is discovered outside asleep which is explained by her secret condition of somnambulism (sleepwalking) but she is wearing the Count’s coat. Elvino, consumed by jealousy, breaks off the engagement, believing Amina has been unfaithful. Count Rodolfo tries to explain sleepwalking to the sceptical villagers, and that he had covered her with his coat to stop her getting cold, but they don’t believe him. The truth is revealed when Amina is seen sleepwalking across a nearby slippery glacier, expressing her grief and despair over losing Elvino. Witnessing this, Elvino finally understands her innocence, asks for her forgiveness, and returns her wedding ring, leading to a joyful reunion. But does that mean a happy ending?

This sentimental melodrama is much of its time, oscillating between comedy and seriousness, so it is to Villazón’s credit that he has re-imagined it as a Calvinist Switzerland, with a backdrop of the Alps, and an added twist at the end. Johannes Leiacker’s set makes the stage both town square and inn surrounded by a set of doors – what goes on behind closed doors is as ever unknown – but in public everyone is on their best behaviour with the isolation reinforced by the only way in – and out – being a ladder to the mountains, and with the theme perhaps a nod to The Handmaid’s Tale, Brigitte Reiffenstuel’s costumes are all long skirts, bonnets, and suits, framed in black and white. It’s a cold world where the antics of children are punished by a whack with a ruler and Amina only has her spirit (Niara Hardister) dancing high above the mountains to infuse her dreams and laughter.

Conductor Riccardo Frizza leads the orchestra through a smooth and balanced performance which musically, by Frizza’s own admission, is a relatively serene and simple accompaniment to a bel canto lyrical style which puts all the expression into the vocal of the singers, and we are not let down by any of them.

Sierra is arguably in her prime and one of the leading voices in the opera world, it is a pleasure to see her perform with such accomplished technique and range. With her overall sound balancing the clarity of youth and the richness of maturity, she delivered a mesmerising performance of operatic mastery injected with a sense of fun befitting of her character.

Anduaga’s seriousness was the perfect offset with his excellent technique, intonation and range. Having spoken beforehand about the challenges of bel canto singing, you wouldn’t have guessed it with his rich and full delivery that flowed smoothly throughout, reminiscent of a young Pavarotti.

Vinogradov’s self-confident approach and sense of detachment from the others captured perfectly his higher standing on the social – and on-stage – ladder in an excellent all-round performance.

Mancasola held her place on-stage in character and vocally with strong acting and high-quality singing throughout.

A special mention for Nicholas Newton whose confident delivery on his Met debut served up an impressive Alessio, and to Deborah Nansteel whose strong vocal strength gave us an assured and determined Teresa to protect Amina every step of the way.

The Metropolitan Opera are live streaming a number of their productions throughout their 2025-26 season, further details https://www.metopera.org/

Reviewer: Mark Davoren

Reviewed: 18^th October 2025

North West End UK Rating: