A MASKED Ball - Un Ballo in Maschera - is arguably Verdi's most elegant and his most inventive opera. The composer's vocal writing and his mastery of atmospheric orchestral detail are equalled only by the later Don Carlos and his final operas, Otello and Falstaff.

The conflict between public responsibilities and private inclinations lies at the heart of a storyline based on the fatal passion of Sweden's King Gustavo for Amelia, the wife of his friend Count Ankarstrom. The wronged husband exacts his violent revenge at the titular Masked Ball. However, this is opera - intrigue and plotting are compounded by masquerade and disguise. In one of the most electrifying and - at the same time - carefree ensemble scenes, Gustavo and his entire court resolve to enjoy themselves by dressing incognito for a visit to the lair of 'subversive' fortune-teller Ulrica Arvidson. Later, Amelia is (supposedly) in disguise when she meets Gustavo at the dead of night in the so called 'Gallows Scene'.

Production director Tim Albery updates the action from the 19th to the mid 20th Century. But he is at odds with Verdi at these crucial moments when characters are meant to be caught 'in flagrante'. The tragedy of the Masked Ball is somehow negated by dressing the guests in purple and by giving everyone identical grey powdered wigs and whitened faces.

So it is left to conductor Richard Farnes and the Orchestra of Opera North to reveal every sinister nuance - and the felicitous delights - in Verdi's opulent score. The triumphal return of the company's esteemed former music director uplifts the whole evening. Opera North's Chorus sing with blazing fervour and Farnes is well served by a strong cast. The Italianate timbre and burnished high notes of Mexican tenor Rafael Rojas project Gustavo's ardour - Gustavo was said to be Luciano Pavarotti's favourite Verdi role. Hungarian soprano Adrienn Miksch as Amelia sings with sensitivity and some beautifully floated top notes. Phillip Rhodes' dark-hued baritone conveys Ankarstrom's brooding pessimism, and mezzo soprano Patricia Bardon is compelling and sepulchral of tone as Ulrica. Best of all though is the Armenian soprano Tereza Gevorgyan in the trouser role of Oscar. Gevorgyan projects the ambivalence of the character and her accounts of Oscar's tuneful high-wire coloratura arias are a delight. Surely Johann Strauss had these in mind when he composed the numbers for Adele in Die Fledermaus.

Un Ballo in Maschera continues at Leeds Grand on 10th, 22nd, 27th February and 2nd March and it should on no account be missed.

by Geoffrey Mogridge