The Sicilian Vespers – Royal Opera

Last Updated on September 20, 2025

Stefan Herheim’s Opulent Production of The Sicilian Vespers returns to the RBO

4.0 out of 5.0 stars

The Royal Opera House’s current staging of The Sicilian Vespers, originally directed by Stefan Herheim, revived under Dan Dooner and conducted by Speranza Scappucci, brings Verdi’s epic vividly to life at Covent Garden. Scappucci, making her debut as Principal Guest Conductor, approaches the score with bold pacing and an acute sense of dramatic timing, which emphasises the tensions between personal revenge and collective uprising. Herheim’s production reframes the Palermo rebellion within an opulent 19th-century Parisian aesthetic. The Prelude opens with a Degas-like ballet scene. Procida, played by Ildebrando D’Arcangelo, observes the dancers as French troops enter, led by Montfort, Quinn Kelsey, intent on overthrowing Palermo and imposing French rule across Sicily. During the chaos, Procida escapes wounded, while Montfort forces himself on one of the Sicilian dancers, who later gives birth to Henri, played as an adult by Valentyn Dytiuk. This dramatic event sets the stage for the complex interplay of familial secrets, loyalty, and political intrigue that dominates the opera

Fresh from a visit to Palermo, the city whose turbulent history inspired Verdi’s The Sicilian Vespers (I vespri siciliani), I approached the opera with a renewed sense of place. First staged in Paris in 1855, this grand opera sets personal passions against the backdrop of the 1282 uprising that freed Sicily from French rule. With its sweeping choruses, intricate ensembles, and originally even a full ballet, the work exemplifies the hallmarks of French grand opera, yet Verdi imbues it with his characteristic dramatic urgency. Verdi’s later masterpieces have often overshadowed The Sicilian Vespers. Still, it remains a remarkable bridge between history and art, particularly when experienced with the streets and memories of Palermo still fresh in mind. The opera’s combination of political intrigue, personal drama, and musical spectacle provides an immersive introduction to the world of 13th-century Sicily, where rebellion and romance intertwine.

As the story unfolds, the adult Henri remains unaware of his true heritage. Raised with loyalty to Sicily and to Palermo, he falls in love with Duchess Hélène, who appears in mourning for her brother, executed the previous year. Montfort discovers that Henri is, in fact, his son and becomes desperate to win him over. These interpersonal conflicts are overlaid on the political rebellion, creating a tension between private passion and public duty. Verdi’s music for The Sicilian Vespers magnifies this tension. The chorus, a powerful presence throughout the opera, alternates between roles as French soldiers, citizens of Palermo, and insurgents, providing a dynamic backdrop that heightens both spectacle and emotional intensity.

The production’s visual elements are striking and immersive. Sets by Philipp Fürhofer and lighting by Anders Poll create an expansive, cinematic environment in which mirrors, dry ice, and masks amplify the grandeur and theatricality of the story. Revolving sets transition seamlessly from streets to a prison scene, with French guards observing from opera boxes, maintaining a sense of omnipresent surveillance and political threat. Gesine Vollm’s costumes add another layer of visual richness to The Sicilian Vespers. From the colourful folk dresses of the Sicilian crowds to Hélène’s breathtaking white wedding gown in Act V, the wardrobe reflects both the historical context and the characters’ emotional journeys. This production, now in its third revival, retains the potency of the original staging from 2013 and continues to impress audiences with its scale and inventiveness.

Vocally, Joyce El-Khoury as Hélène initially seemed underpowered during the first three acts. Her breath control and perfect intonation were impeccable, but her voice occasionally struggled to rise above the orchestra and large ensembles. Nevertheless, she portrayed Hélène with charm and sensitivity, and by Act V she fully came into her own, particularly in the aria “Merci jeunes amis.”

Valentyn Dytiuk’s performance as Henri was luminous. His rendition of “Ô jour de peine” demonstrated both lyrical warmth and dynamic control, capturing the character’s inner turmoil and nobility. Quinn Kelsey proved an ideal Montfort, with a baritone that was both authoritative and expressive, displaying smooth legato lines and controlled power, particularly in the moving Act III aria “Au sein de la puissance.”

Procida’s vocal high point, delivered flawlessly by Ildebrando D’Arcangelo, was the impassioned aria “O toi, Palerme,” which encapsulated the fury and urgency of the Sicilian rebellion.

The Royal Opera’s production of The Sicilian Vespers succeeds on multiple levels. Visually and musically, it captures the grandeur, intrigue, and emotional intensity of Verdi’s score. Dramatically, the staging allows the audience to follow the characters’ intertwined destinies with clarity, while the vocal performances bring depth and nuance to each role. For those who know Palermo’s history, the opera resonates even more strongly, merging the vivid streets and turbulent past of the city with Verdi’s sweeping, emotionally charged music. This production demonstrates that The Sicilian Vespers, though sometimes neglected, remains one of Verdi’s most compelling works, balancing political upheaval, personal drama, and grand operatic spectacle.

The Sicilian Vespers
Royal Opera House
Covent Garden,
Bow Street,
London WC2E 9DD.

The production runs from 19 September to 6 October 2025.

Full details and tickets are available on the Royal Opera House website

Looking for something different? We also recommend Puccini’s Tosca, currently showing from the Royal Ballet and Opera.