Photo credit: Tim Matheson
There is something inherently optimistic about this music, especially in the confident reach of Estacio’s vocal writing: big intervals anchored on triads, an old-fashioned, romantic rhetoric, echoes that range from Tchaikovsky to Bernstein, and mellifluous lines that flatter the singers.
In return, the singers flatter Lillian Alling. Soprano Frédérique Vézina was superb in the title role, projecting both strength and mystique in her singing (though somewhat more coquettish in gesture than the character suggests).
Mezzo-soprano Judith Forst was, as ever, emotionally arresting, her performance one long, gradual deepening of Irene’s character.
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