Reporter Darcie Rawlings headed to Opera North’s operatic double bill of Cavalleria rusticana/Aleko at Newcastle Theatre Royal earlier this week.

Opening Opera North’s spring season at Newcastle Theatre Royal was a rare and wonderful double bill of two short performances directed by Karolina Sofulak on Wednesday (March, 13).

Cavalleria rusticana and Rachmaninov’s Aleko exceeded all my expectations Opera North certainly served Mascagni’s 70s communist Poland and a more modern spin on Rachmaninoff’s nomadic commune, justice.

Cavalleria rusticana, performed as intended, initially premiered as part of the Opera North’s 2017 Little Greats season and was seen accompanied by single-act operas, however this spring, Sofulak, chose Aleko marbled with contrasting settings but eerily similar themes to accompany Cavalleria rusticana.

The Northern Echo: The ensemble performances were claustrophobic and opressive reflecting the societies they were a

Pushing the two operas closer together Sofulak also directly links the two tragic tales by portraying Rachmaninov’s Aleko and Cavalleria’s Alfio as the same man.

We first meet Alfio in Cavalleria rusticana as a younger man plagued by jealousy and anger at his wife’s infidelity, in the second act 20 years apart, Alfio becomes Aleko who is still haunted by his crime.

Beginning with Cavalleria rusticana, I was gripped with unease following a tale of faithlessness, jealousy, and violence, set in a Mascagni’s 70s communist Poland amongst a rural community where the church maintains an iron grip.

The Northern Echo: I was captivated by Giselle Allen’s Santuzza, who was complex and radical

I was captivated by Giselle Allen’s Santuzza, who was complex, radical, self-loathing and vindictive all at once, a true victim of her own circumstance in her oppressive community, who’s performance lingered on my mind throughout the evening.

In the second act Rachmaninov’s first opera follows Aleko who has turned his back on the restrictions of conventional society and joined a free community where he falls in love with a young woman, Zemfira.

The Northern Echo: The ensemble performances were claustrophobic and opressive reflecting the societies they were a

Aleko realises that despite the bright lights, colours and promises of freedom this new life was equally as repressive as the one he had left behind, and history repeats itself – destruction follows as Aleko is haunted by the people of his past.

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The ensemble performances were claustrophobic, crowded and oppressive on the theatre's stage reflecting the societies the people were a part of. 

As both Alfio and Aleko Robert Hayward’s distain for himself was endearing, he portrayed not a bullying brute of a villain but a man who at every corner seems to resent his own life and love.

The Northern Echo: Robert Hayward’s distain for himself was endearing in Aleko

The set designs by Charles Edwards were impeccable alongside costumes by Gabrielle Dalton which were both equally contrasting and haunting in each setting.

Overall, I thought this was an unforgettable performance accompanied by an impeccable orchestra at Opera North that never misses.

Cavalleria rusticana/Aleko at Newcastle Theatre Royal will also be performed on Friday, March 15.

Tickets and more information for all performances can be found by visiting www.theatreroyal.co.uk or by calling the Theatre Royal Box Office on 0191 232 7010.