As a lifelong Puccini fan, there’s nothing quite like hearing his music live, and Scottish Opera’s The Puccini Collection at the Usher Hall did not disappoint. This was a moving and celebratory tribute to mark the centenary of Puccini’s death, with Stuart Stratford conducting the Orchestra of Scottish Opera and a stellar line-up of soloists.
The programme was brilliantly chosen. Alongside famous excerpts from Tosca, La Bohème, and Turandot, we were treated to earlier works like Le Villi and Edgar—pieces that are seldom performed but give insight into Puccini’s evolution as a composer. The decision to include extended scenes, not just standalone arias, made the performance feel more immersive, as though we were being drawn into the emotional worlds of the operas themselves.
Stuart Stratford was, as always, an engaging and enthusiastic presence on the podium. His introductions before each piece were warm and informative, setting the tone beautifully. Under his baton, the orchestra played with extraordinary sensitivity and colour. The lushness of Puccini’s harmonies, the ebb and flow of drama in his scores—it was all there, brought vividly to life by a group of musicians who clearly relish this repertoire.
The singers were superb. Sinéad Campbell-Wallace delivered a breathtaking Vissi d’arte that brought the house down. Her ability to balance the tenderness and desperation of Tosca was astonishing, and it was impossible not to be swept up in the sheer emotion of her performance. Roland Wood was equally commanding, particularly in his portrayal of Jack Rance in La Fanciulla del West, where his rich baritone and dramatic presence added real depth. Their duet in the poker scene was charged with tension and passion, a highlight of the evening.
Kira Kaplan, one of Scottish Opera’s Emerging Artists, gave a poised and heartfelt performance. Her aria O mio babbino caro was elegant and full of charm, a quieter moment that provided a lovely contrast to the more intense scenes. Meanwhile, Mykhailo Malafii made a striking impression. His performance of Dunque questa lettiga? with Campbell-Wallace was tender and expressive, but it was his rendition of Nessun Dorma that brought the evening to its stunning conclusion. It was everything you could hope for—soaring, powerful, and utterly electrifying.
The quartet from Act III of La Bohème was, for me, the emotional heart of the evening. The interplay between the singers, their voices weaving together with the orchestra, was simply sublime. It captured the essence of Puccini—his ability to portray human relationships and emotions with such immediacy and beauty.
If there was one omission, it was the absence of any selections from Madama Butterfly. As much as I adored the programme, it felt a little incomplete without hearing Cio-Cio-San’s heartbreaking story. That said, the balance of well-known arias and rarities was so thoughtfully planned that it’s hard to find fault.
The Usher Hall, with its magnificent acoustics, was the perfect setting for this concert. There’s something magical about hearing Puccini’s music resonate in a space like this—it enhances every note, every phrase, every emotion. Scottish Opera has such a rich history with Puccini, and this performance was a fitting addition to their legacy.
The Puccini Collection wasn’t just a concert; it was an experience, a celebration of everything that makes Puccini’s music timeless. Whether you’re a seasoned opera-goer or a newcomer, it was impossible to leave untouched by the beauty of the evening. For me, it reaffirmed why I love Puccini so much: his ability to capture the full spectrum of human emotion, to move us, to remind us of the power of music. Truly unforgettable.
Reviewer: Nazaret Ranea
Reviewed: 22nd November 2024
North West End UK Rating: