LA SONNAMBULA
Jacksons Lane
★★★★
“a stellar cast of rising stars and an intelligently conceived interpretation”
For the first time in fifteen years, Bellini’s bel canto masterpiece ‘La Sonnambula’ returns to London stages in a triumphant production from the award-winning Hampstead Garden Opera. Far from sleepwalking through its revival, this modern interpretation dazzles with a modern edge and absolutely superb cast.
Amina and Elvino are newly engaged, much to the spurned Lisa’s dismay. But when a mysterious stranger throws everything into turmoil, can reason overcome superstition and social expectations?
Bellini’s sublime score overflows with enchanting melodies, soaring lyricism and dazzling coloratura, showcasing exactly why ‘La Sonnambula’ remains a bel canto masterpiece. Stefano Boccacci conducts with real attack, elegance and momentum, drawing remarkable richness from the strong thirteen-piece orchestra.
Felice Romani’s libretto feels strikingly modern for a work that premiered in 1831. The men are flawed rather than villainous, feeling much more human than traditional operatic archetypes. Rodolfo represents reason and compassion, even if his flirtatious side raises questions. While the women remain constrained by society’s expectations, this production’s bold interpretation gives that imbalance a compellingly contemporary edge.
John Wilkie’s direction vividly captures the women’s social entrapment, with stark staging, shifting doorways and oppressive chorus creating a bleak, isolated atmosphere. Pyramidal staircases provide dynamic levels and a safer substitute for the opera’s famous bridge, even if their symbolism isn’t always clear. The chorus is deployed effectively as an instrument of social control, though larger scenes occasionally feel cluttered. Where the production truly excels is detailed storytelling, with nuanced reactions and character development resonating powerfully in this intimate space. The bold final twist is especially satisfying, upending the established social order and giving the women’s arcs a refreshing edge.
Jennifer Gregory’s sleek, minimalist design strips the opera to its essentials, lending unusual weight to a semiseria work and bringing its themes into sharp focus. Jacob Gowler’s lighting is atmospheric and evocative, if occasionally casting odd shadows. Costumes are simple but effective, with colours reflecting each character’s temperament. The surtitles are less successful, with paraphrases and long gaps leaving audiences feeling a step behind the action.
Performances are shared between two casts of emerging talent, and tonight’s is breathtaking. At its centre is Eyra Norman’s spellbinding Amina, with thrilling range and technique, and remarkable emotional depth. Every note gives me chills. Norman is truly a major new opera star in the making. Hailey West’s excellent Lisa pairs crystalline coloratura with layered emotional complexity. Michael Roche’s Rodolfo has a delicious richness and resonance, bringing warmth, authority and humanity to the role. Tobias Campos Santinaque’s impassioned Elvino, Mathilda Goike’s tender Teresa and Ted Day’s jealous Alessio complete the strong cast, combining fine vocals with fully committed performances. The chorus is another major asset, producing a thrilling, full-bodied sound that far exceeds its numbers. Their acting could be more consistently committed, but the quality of the singing is exceptional throughout.
Once again, Hampstead Garden Opera punches well above its weight. With a stellar cast of rising stars and an intelligently conceived interpretation, this ‘La Sonnambula’ is not to be missed.
LA SONNAMBULA
Jacksons Lane
Reviewed on 7th November 2026
by Hannah Bothelton
Photography by Julian Guidera
