Graeme Murphy’s handsome production of Puccini’s grandest opera was first recorded back 
in 1991, so why have Opera Australia chosen to revisit it? First of all, it’s an opportunity for a technological upgrade, and in this respect the DVD is a singular success. Picture quality is crystal clear, with clever use of overlays to enhance the visuals. The sound, too, is very good, every detail of Andrea Licata’s highly effective, dramatic reading of the score brought vividly to life.

First honours go to American soprano Susan Foster in the title role, commanding the stage with ringing tone, immaculate diction and an insightful dramatic identification with the character. It’s a wild performance, and some might find the vibrato a trifle wayward, but she easily sails over the chorus and her emotional transformation is riveting. The other star of the show is the Australian Opera chorus who, despite Murphy’s production occasionally veering into Kismet territory, sing with unflagging power and commitment.

Unfortunately, Rosario La Spina proves a fly in the ointment. His foursquare musical approach and unimaginative use of text lacks finesse and, although the top notes are all there, his hollow tone is dull. Add to this some dubious Italian vowels and a tendency to be glued to the conductor and you have a black hole at the heart of this production.

The rest of the cast are acceptable, if not quite international standard. The three nicely choreographed “masks”
are fine, if a little flat, and Jud Arthur’s Timur grows in stature as the evening progresses. As Liù, Hyeseoung Kwon seems nervous at first, and gets no help from her wooden Calaf, but by the third act she has developed into a three-dimensional character culminating in a strongly sung and genuinely moving death scene. Verdict: a Chinese curate’s egg.