by usia review
Puccini’s Suor Angelica: A Night of Deep Emotion at Opera Fest Lisbon
Suor Angelica, an opera in one act by Giacomo Puccini with a libretto by Giovacchino Forzano, premiered in 1918 and forms the second panel of Il Trittico, alongside Il Tabarro and Gianni Schicchi. Presented at Opera Fest Lisbon, this performance proved to be a deeply moving artistic experience, marked by emotional intensity and musical refinement.
Under the musical direction of Maestro Luís Sepúlveda, the orchestra—adapted to the performance space—was conducted with sensitivity and balance, allowing Puccini’s luminous orchestration to support the voices without overwhelming them.
An Extraordinary Suor Angelica
The evening’s unquestionable triumph was Catarina Molder in the title role. Her interpretation of Sister Angelica was profoundly moving, transmitting such emotional truth that several spectators were visibly moved to tears. Vocally, she achieved remarkable perfection in timbre, color, and intonation, with beautiful, secure high notes and an expressive musical line. Above all, her performance stood out for its interiority—the ability to convey Angelica’s silent suffering, spiritual conflict, and ultimate transcendence with rare sincerity.
The Drama
The action takes place around the year 1600 in a convent near Florence. Angelica, from a noble family, has been forced into seclusion for seven years as punishment for bearing a child out of wedlock—a scandal her family sought to erase by immediately taking the child away at birth.
Following the opening prayers, the nuns are reminded of the penitences imposed for any transgression. During this scene, Sister Genoveva (Célia Teixeira) mentions the approaching month of May, when the convent’s waters turn golden under the sunlight—a moment associated with honoring the dead. Suor Angelica reflects poignantly that desires exist only among the living, subtly revealing her inner torment. The sisters quietly allude to Angelica’s noble origins and her anguish over the absence of news about her son. A lighter moment follows when the infirmarian asks Angelica for medicinal herbs to treat wasp stings.
The dramatic turning point arrives with the sound of a carriage. The Abbess (Alexandra Calado) announces the visit of Angelica’s aunt, the cold and aristocratic Principessa, portrayed with severity by Ana Ferro. The aunt demands that Angelica sign a document renouncing her inheritance. Angelica insists she has accepted all penance for her sin but cannot renounce her maternal love. Only then does the aunt reveal the devastating truth: Angelica’s son died two years earlier.
This revelation leads to the opera’s emotional summit—Angelica’s aria “Senza mamma”, sung here with heartbreaking intensity by Catarina Molder. Overwhelmed by grief, Angelica poisons herself but, in her final moments, repents, fearing eternal damnation. Puccini grants her a vision of redemption: a mystical reunion with her child.
Artistic and Musical Excellence
Suor Angelica is unique within the operatic repertoire in that it is written exclusively for female voices. In addition to the principal roles, the performance featured Rita Coelho, Leila Moreso, Rita Filipe, Sónia Alves, Laura Martins, Nadia Lys, and Ana Isabel Freitas, all contributing with musical discipline and ensemble cohesion.
The scenic direction by David Pereira Bastos was restrained and effective, supporting the emotional arc of the drama without distraction. Patrícia Costa’s scenography complemented the production with sobriety and symbolic clarity.
Final Thoughts
This performance of Suor Angelica reaffirmed Puccini’s extraordinary ability to transform intimate suffering into transcendent beauty. Thanks to a committed artistic team and an unforgettable central performance by Catarina Molder, Opera Fest Lisbon offered an evening of rare emotional depth—one that will long remain in the memory of those who witnessed it.
Thanks to: Catarina Molder