Verdi’s A Masked Ball – Festival Theatre

As the Edinburgh International Festival draws to a close, Zurich Opera has their final performance of Verdi’s A Masked Ball at the Festival Theatre. 

Based on preexisting libretto, Giuseppe Verdi adapted and added the love triangle aspect we see in this production.  Given the assassination in the opera (originally written as the murder of a King) Verdi had to combat numerous censorship attempts.  Despite several setting changes, with Verdi eventually settling on 17th century Boston as the location, each adaptation was followed by real-life assassination attempts and political unrest which called for Verdi to keep adjusting details of the opera so it would seem a little less close to reality.

Director Adele Thomas has kept the Boston setting but moved the timeline slightly by placing us in the 19th Century after the civil war.  Thomas focuses on America as a transitioning nation, with new political figureheads, electricity, gun violence, and drug usage on the rise.  Riccardo’s (Stephen Costello/Piero Pretti) face is plastered on banners and pamphlets throughout the production, strikingly so on the curtain post-show.  In post-war America, he is a fresh face promising hope.  Although he is a rather neutral politician in the eyes of the show – we don’t really know what his stance is and that seems dangerous.

Riccardo’s page Oscar, played by Katharina Konradi/Rebeca Olvera provides the comedic relief.  With exceptional comedic physicality and cheeky, but endearing charm, this character was a highlight of the opera.  As was Agnieszka Rehlis/Yulia Matochkina as fortune teller Ulrica.  Frightening, yet sensitive, she is set-up as a woman in need of banishment, but really, she is the one with the most power.  That power both scares and fascinates, but to Riccardo’s misfortune, he dismisses her warning.  Every principal and chorus member was an incredibly steadfast performer, pulling off good cheer as well as dark foreboding.

Opera is already a very physically demanding art, so adding dancing into the mix must have been quite the challenge for the performers.  Leaping, cartwheeling, and high kicking; the flexibility and energy was more than impressive.  Emma Woods’ choreography was perfect for utilising the frilled underskirts (designed by Hannah Clark) in a can-can-esque bonanza.  The frivolities and contrivances of high society were revealed in this spectacle of dance.  Meanwhile on the streets of Boston, we see ladies of the night, drunkards, a bare-footed addict, and a frightened Amelia on her quest to find the herb that will rid her of her love for Riccardo.  These grittier portraits of the city’s population were perfect, I wish we got to dig further into this dark underbelly.  There is so much context to explore in this setting, and I feel we barely grazed it.  We see that the wealthy love Riccardo, but how does everyone else feel?  The conspirators clearly don’t like him, but they also appear to be men of wealth, so even then we are viewing Riccardo through one narrow lens. 

The sets designed by Clark were spectacular, embodying the grandiosity and melodrama we are so used to in opera.  Stood on a revolving platform, the space transformed from Ulrica’s mystical lair to claustrophobic drawing rooms.  We ended in a wide-open carousel which hosted the ultimate masquerade ball.  Unlike the other scenes, in the ball the turntable rotated with its lights aglow, creating a maze of people to duck in and out of.  It reminded me of the wheel of fortune – who will be revealed in the next rotation, and who will retreat back into the crowd.

All this build up for Riccardo to be shot dead by his best friend and advisor, Renato.  The death is almost anticlimactic, but it works in breaking the façade that Riccardo is the saviour of this country.  He is brought down from his pedestal, and we see him once again, as just a man.

Reviewer: Jessie Martin

Reviewed: 30th August 2026

North West End UK Rating: