Flexible beat in Il Trovatore

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I have no objection in principle to the giant industrial furnaces in the gypsy camp; nor to the wrought ironwork in the convent that all but turns it into (the original) Milan Central Station. But I do object to an inert shell of a production, with stock histrionic gestures and zero intellectual or theatrical content.

More than ever, the four principal singers are thrown on their vocal resources, which this time round are intermittently capable of salvaging something.

Roberto Alagna’s star quality has faded somewhat these days and the virile display required of Manrico encouraged him to push harder than was desirable, with occasional rough edges as a result.

In his more intimate scenes with Leonora, a more appealing lyrical vein came to the fore, however. Dmitri Hvorostovsky (Count di Luna) has a tone of liquid gold but is a little text-sensitive nuance too much to ask?

Malgorzata Walewska’s Azucena had more to offer in this respect but it was Sandra Radvanovsky’s Leonora, in her big number outside the prison in Act 4, who stole the show. Gliding and swooping with consummate grace, she was able to fine her tone to a thread.

Carlo Rizzi supported her admirably with a flexible beat.

Until 7 May. Information: 020 7304 4000, www.roh.org.uk.

The Royal Opera: Il Trovatore
Royal Opera House
Floral Street, WC2E 9DD