There are many questions we might well ask these days about the defence of faith, power, identity and the allure of martyrdom, though perhaps not at Glyndebourne.
Musically transcendent in many parts this first UK professional performance of Poliuto is as philosophically immured by its imposing stage set of Sarajevo-style walls as it is by Donizetti’s famously beautiful score. There will be rivers of blood as Christians are fed to the lions but we won’t mind because it will all sound so gorgeous.
As the anguished Paolina, Ana María Martínez is heaven itself, her spine-tingling dynamic control and seemingly effortless grace through some of Italian opera’s most challenging arias is just wonderful.
Igor Golovatenko’s vocal command and physical charisma as the pagan Severo leaves one thinking Paolina has made a duff choice.
In the title role, Michael Fabiano’s voice has the power to bring the entire auditorium to its knees, but his oddly apologetic posture makes Christianity look a bit wet – though the pagans’ attempt to humiliate a would-be martyr by throwing small crosses at him looks equally lame.
The real power is in the almighty Glyndebourne chorus, the emotional bedrock that underpins this and any other opera this season.
There is a god, and he inspires absolute devotion. He is chorus master Jeremy Bines.
Four stars
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