Modern news reports often feature tragic and grisly tales of murdered lovers and what happens when love triangles break. Ruggero Leoncavallo had all this reported in his nineteenth century opera PAGLIACCI. This realist opera completed the Sydney Independent Opera’s 2014 season. Its fresh direction and performance was the crowning glory to this year’s exploration of verismo operatic style.

The operatic work did not suffer when presented in a chamber opera setting with reduced orchestral forces. Dr Steven Stanke’s arrangements ably supported the well-cast principal voices on stage. Expressive moments existed, especially in solos for oboe and cello.

For purists and those loving the familiar ring of the opera’s famous Italian arias, these were substituted for the vernacular in this production. However, the English versions of Canio’s ‘Vesti la giubba’ or his wife Nedda’s anxious ‘Qual fiamma avea nel guardo’ were still highlights. Without surtitles the engaging translation made the opera’s plot accessible and its language colourfully penetrating.

The busy ensemble were believable fans of the protagonists’ travelling comic troupe. Their reactions to married actors Canio and Nedda were effectively directed by Paulo Montoya. All space in the theatre was well utilised in the staging. Spontaneity was provided through successful audience participation and breaking the boundaries between performers as well as the staged and theatre crowds.

Soprano Qestra Mulqueeny brought her exciting voice and an extraordinary dramatic range to her role as Nedda. Her comedia del arte poses as Columbina, with pouting parlance and panic around her weeping clown husband were tremendously diverse, controlled and convincing.

Daniel Sloman took command of his character Canio and also the white-faced murderer Pagliacci. A soaring tenor tone graced all areas it appeared in throughout. His clown costume, as with all the comedia cast, was cleverly reminiscent of traditional outfits. It gaped open, as undone and shameful as the broken spirit he evoked consistently well.

Strong characterisations of Nedda’s lover Silvio and troupe actor Beppe (Nedda’s Harlequin stage lover) were ably played by Christopher Lewis and Alastair Colgrave. Their participation in the actors’ group scene applying make-up before their play at the start of Act Two was a commendable illustration of mounting tension.

The role of Tonio was powerfully sung by Simon Meadows. His stage presence was considerable. Tonio was developed into a fierce instrument of revenge in this version. Plotting against Nedda after not accepting his advances, Tonio assisted Pagliacco/Canio in the stabbing of Columbina/ Nedda, then in a bizarre twist to the traditional action, then killed Canio himself. Tonio, the controller of the opera’s Prologue, in this way also intercepted the opera’s famous last words: ‘The comedy is finished’.

This slight change provided a sudden and extreme surprise for those familiar with the opera. It was, however, satisfyingly in parallel to the shock of the first-time stage and opera audiences at the stabbings of Nedda during the commedia play and then her lover Silvio. This satisfying alteration highlighted a fresh aspect to the work presented by this company, who always provide some freshness to inspire their audiences with opera’s possibilities.

There were two Sydney performances of PAGLIACCI by the Sydney Independent Theatre in August. It tours regional NSW with a performance at John Paul College Theatre in Coffs Harbour on September 13.