Catherine Carby leads an Aussie invasion at the Siege of Calais.

Hackney Empire, London
March 2015

Donizetti is not universally liked. Some opera lovers find his oom-pah-pah rhythms and formulaic structure just a little too predictable. Those musicians who know how to approach his work in true bel canto style are able to reveal the glories beyond the surface. It’s maybe a risk mounting productions of two of his lesser-known works, but the gamble pays off handsomely and is a triumph for the company.

Audiences were buzzing with anticipation on both opening nights, especially for premiere of The Wild Man of the West Indies, but also because The Siege of Calais was receiving a well-deserved second airing. The fact that Richard Bonynge made the effort to attend both first nights goes a long way to validate their achievements.

Donizetti was not satisfied with The Siege of Calais after its first performances in 1833. He never liked the structure and felt Act Three to be the weakest. There is evidence from his own letters that he intended to make revisions, possibly shrinking the three acts into two and revising the final stages of the plot. Director James Conway and conductor Jeremy Silver have tried to fulfil Donizetti’s wishes and...