Verdi at its brooding best...

OPERA North’s dream-team male cast is with us in Salford for this first revival in 11 years of a superior, dramatic Verdi masterpiece.

In 1998 it was clear that the combination of the youngish Julian Gavin as Carlos and Alastair Miles as the king in Tim Albery’s brooding production was a superb bringing together of ardent young man and glowingly dramatic bass.

When reviewed earlier in its run in Leeds, the role of King Philip was played by another singer whose performance wasn’t quite so deep or fearful (and who, take note, returns for the Salford performance on Saturday).

But here Miles returns, a decade older and his voice undiminished, for a stunning performance of fear, doubt, pride and unrequited love as the king beset by political upheaval on one side, suspicions about his wife on another, and the Grand Inquisitor unimpressed by his apparent weakness on yet another.

This is a man under pressure, and Miles shows it in the private moments of doubt and the public displays of authority.

Verdi’s opera is an assault course for the singers: it starts with the famous, fairly light duet for Carlos and his great friend DePosa, in which Gavin shows little sign at least of his voice having lost its youthful edge. William Dazeley as DePosa the confidante of the king, isn’t quite right for the role but makes up for it with a dramatic presence, improving as the night wears on.

And this is what makes the work such a tough one: the evening starts lightly but gets more dramatic and more powerful with each passing hour, culminating in the chorus-led Auto da Fe scene with its tremendous power, followed by equally tough work for the king, the Inquisitor (the profoundly dramatic Clive Bayley), and most of all the Queen, Elizabeth (Janice Watson, generally thrilling) and Jane Dutton as Princess Eboli.

Watson loses a little of her power in that last half hour, but maintains focus if not vocal strength.

Speaking of strength, the chorus remains superb, the orchestra a model of Verdian sweep and range under conductor Richard Farnes and Hildegard Bechtler’s dark, shadowy, high-walled set offers a bleak and brilliant vista.

Not exactly entertainment, but quite an experience.