Kirstin Sharpin effortlessly conquered the almost Wagnerian demands of her first-act aria as Fidelio. Photo / Supplied
A full town hall and the presence of Dame Kiri Te Kanawa in the audience augured well for Auckland Philharmonia Orchestra's concert presentation of Fidelio.
Beethoven's only opera, in keeping with its times, celebrates the invincibility of the human spirit. Today, its tale of murky, repressive politics is chillingly relevant,
well caught when director Jacqueline Coats marched her male chorus down the aisle to form a stark line-up of uniforms across the stage.
The opera's problematic spoken dialogue was cleverly resolved into a smooth commentary by Paul Whelan's Rocco character, recalling past events with piquant colloquialisms. Only when he had to extricate himself from the action and cross a silent stage to his microphone did one sense an unwanted lull.
A succession of strong and well-sung characterisations set off with a flirtatious Mozartian duet between Natasha Wilson's Marzelline and Oliver Sewell's Jaquino.
When they were joined by Whelan and Kirstin Sharpin as Fidelio in a rapturous quartet, the seal was set for a memorable evening ahead.