Tchaikovsky’s Pique Dame is a rather odd opera. It’s not just that the main plot turns on a pretty bizarre tale of the supernatural but that it also contains a significant number of big set piece numbers that don’t advance the plot at all; the “military children” in Act 1, the Pastoral in Act 2 and the bizarre “Glory to Catherine” chorus in Act 3 aren’t the only ones. One assumes that they are there so that the composer could interpolate some suitably “Russian” bits because without them it’s just any other opera that happens to be in Russian.
I’m not, in the normal run of things, a huge fan of obscure bel canto operas. A very long list of them languish in obscurity for very good reasons. So, my hopes were not all that high when I stuck the 2015 Glyndebourne recording of Donizetti’s Poliuto in the player. I was wrong. This is probably the best martyrdom opera from Glyndebourne since Peter Sellars’ production of Theodora in 1998.