In a stunning new rendition of Tchaikovsky’s haunting opera, The Queen of Spades, Garsington Opera presents a visually arresting set designed by Tom Piper, evoking a mix of Versailles elegance and a haunted carnival atmosphere. Directed by Jack Furness, this production immerses the audience in the late 18th-century St. Petersburg, during the reign of Empress Catherine the Great.

Tchaikovsky, who held Mozart in high esteem, sees his work reimagined in Furness’s dynamic interpretation, reminiscent of a nightmarish version of The Marriage of Figaro. Here, aristocrats and servants grapple for power, revealing a society rife with snobbery, hypocrisy, and conflict. The opera’s protagonist, Herman, culminating in a tragic realization, reflects, “What is our life? A game!” This highlights not only a literal card game but also the pretense and hidden identities that permeate their lives.

The production’s creativity shines particularly in the Pastorale, a play within the opera. It features a daring ballet choreographed by Lucy Burge, underscoring themes of seduction and revealing the characters’ true natures. Robert Hayward’s Tomsky emerges as a sympathetic figure with a complex past connected to the repressed Prince Yeletsky, portrayed by Roderick Williams. The character dynamics, including Stephanie Wake-Edwards’s assertive Polina longing for Laura Wilde’s Lisa, add rich emotional layers. The old Countess’s nostalgic references to her youth with Madame de Pompadour hint at deeper, unaddressed themes of repressed desires that Tchaikovsky subtly explores.

Despite its Rococo influences, Tchaikovsky’s score is saturated with intense emotion and passion. The Philharmonia’s performance, particularly its rich string section, imbues the music with an essential warmth. Douglas Boyd’s meticulous conducting reveals intricate musical details, especially the haunting lament that introduces Act III.

Herman’s role is particularly challenging, and tenor Aaron Cawley tackles it with vigor, though his singing occasionally pointed towards a strident edge as the evening progressed. Wilde delivers a moving and beautifully sung Lisa, and Harriet Williams, stepping in for Diana Montague, brings a sharp complexity to the Countess’s character. Ultimately, Roderick Williams stands out with his eloquent and heartfelt portrayal of Yeletsky, delivering his aria with poignant grace.

Running time: 270 minutes (including a dinner interval). Performances continue until July 4, with a broadcast scheduled for Radio 3 in October.

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