A sometimes seductive but, at times, distracting concoction of LED imagery accompany Opera Australia's latest Aida - Australian Arts Review

Published online at Australian Arts Review, 8th May 2021

https://artsreview.com.au/aida-3/

It is almost 3 years since Opera Australia introduced design-altering LED digital screen technology to audiences when Italian director and choreographer Davide Livermore’s Aida opened in Sydney. Since then, the company has produced numerous such works but none had made it south to Melbourne.

On Thursday night, that changed when the dazzling liquidity of Livermore’s production opened the company’s autumn season at the State Theatre. And how exciting for all sorts of reasons to have the company back after an almost 18-month absence and to welcome live performance again at the State Theatre after more than one year.

The cast of Opera Australia's Aida

Rarely would Giuseppe Verdi’s Aida be conceived without laying on lavishness and spectacle. Both came together here as the story’s ancient Egyptian setting received a bold 21st century makeover using loads of imagery as 10 giant screens slid and pivoted into place around stage action comprising more than 100 stage performers.

Lofty engraved gold panels and hieroglyphics, coiling cobras and walls of flames, a giant black panther and a shimmering moonlit Nile, slow moving images of near naked pharaoh-like men and sensuous priestesses – the list goes on.

There are some really evocative scenes as part of Livermore’s collaborations with Giò Forma’s set design and D-Wok’s video design but most of the time you might find yourself wracking your brain to find meaning throughout the overall restlessness.

The unfortunate freezing of the surtitles for a good part of Act 1 at “Whatever have you done? Oh, you poor man!” in a way said what was going through my mind.

And then, it was as if costume designer Gianluca Falaschi had chanelled the strong and glamorous Art Deco lines and glittering threads of the great 20th-century artist and designer Erté to achieve his Egyptian wardrobe. In contrast, the Ethiopians were attired in military uniform and bland greys of the peasantry of the World War One years.

Stefano La Colla as Radamès and Leah Crocetto as Aida

So, was Livermore attempting to reset Aida during this time of conflict? More a nod perhaps, since a sense of the fantastical overrides it all – like the Medieval-looking armour-clad King of Egypt who constantly reminded me of the ghost of the Commendatore from Mozart’s Don Giovanni.

The freakish dancing by possessed young women slashing at their own or each other’s wrists and necks didn’t reveal much either. Whatever the cult, the newly elected Captain of the Guard Radamès was certainly part of the drill, slashing at his own wrists with his sword to presumably swear allegiance to king and country.

But at the core of the opera is a fraught love triangle that ought to outperform any superfluousness or extravagance. Its dynamic forces, however, struggled to achieve a binding heartbeat of total conviction. In the title role as the enslaved Ethiopian princess and handmaiden to the King’s daughter Amneris, American soprano Leah Crocetto developed splendidly as the night progressed.

In the opening scene in the hall of the King’s palace, the chemistry in Crocetto’s acting lacked a little bite but by the scene’s big closing aria, Ritorna vincitor, which she sang with resplendent colour and texture, Crocetto was on her way harnessing everything in Aida’s heart and predicament of having fallen in love with Radamès.

Crocetto effortlessly sang through a plush range of beautifully heartfelt notes, reaching melting heights in Act 3’s opening aria, Qui Radamès verra… O patria mia as Aida waits for Radamès on the eve of his marriage to Amneris. When Crocetto took a rousing curtain call, emotions were clearly evident and it was a joy to welcome her in an Opera Australia debut after having seen her in numerous international performances, including singing a memorably impressive Aida at Seattle Opera in 2018.

Elena Gabouri as Amneris, Michael Honeyman as
the King of Ethiopia and Alexander Vinogradov as Ramfis

Making his Opera Australia debut also was Italian tenor Stefano La Colla as Radamès. Warmth and muscularity in the voice gave La Colla’s Radamès a good degree of presence but the top notes tended to lose patina. For a good part, La Colla seemed to anticipate rather than be at one with the music as well as appearing physically disengaged from the moment, especially when sharing the little time Radamès and Aida have together in intimacy.In the final tomb scene, however, La Colla gave a moving performance along with Crocetto despite a directorial flop as Radamès lay in the foreground with Aida standing behind, physically distanced and with zero eye contact.

As Amneris, voluptuously voiced French-Russian mezzo-soprano Elena Gabouri was something phenomenal, oozing with power and magnetism but equally able to portray the Egyptian princess’ heartbreaking vulnerability. A giant black panther often loomed slyly behind her but Gabouri sang as if needing nothing to accompany an instrument she possesses that was thrilling at every turn, right until the finale when one couldn’t but feel compassion as she stands upon an inverted pyramid that pierces the tomb of the lovers below.

The smaller roles shone with excellent performances, especially that of firm and molten Russian bass Alexander Vinogradov whose high priest Ramfis imparted dignity and leadership. Michael Honeyman was strong in voice and convincing in acting as Aida’s father, the King of Ethiopia, and Gennadi Dubinsky resonated wonderfully from his platform in his armour as the King of Egypt.

Much of the ensemble singing added impact and the glorious Verdi chorus work was nicely calibrated and sumptuously tuneful. Symmetry and order were the general rule in the way the chorus were mobilised and, once again, you could shake your head at some of the choreography.

Down in the pit, conductor Tahu Matheson kept the lid on showiness, opting for a more refined approach in the voluminous passages and giving delicacy equal impact.

Orchestra Victoria was in superb form, as were the six trumpeters stationed from high on the sides of the theatre for Livermore’s more low-key Triumphal March – no live animals but artistically introduced with imagery of a horseman riding through what alludes to the strategic Gorge of Napata made mention of subsequently.

The company’s new Aida is a curious, sometimes seductive, at times distracting concoction of LED imagery, costuming and direction and much more could have been achieved with the story’s love triangle. The audience took it without raucous applause and wasn’t on their feet either.

Aida

Opera Australia

State Theatre, Arts Centre Melbourne

Until 21st May 2021

Production Photos: Jeff Busby

A spare but lively ignited Così fan tutte from Melbourne's IOpera - Australian Arts Review

Published online at Australian Arts Review, 3rd May 2021

https://artsreview.com.au/iopera-cosi-fan-tutte/

While a pandemic has crippled opera performance in front of a live audience across the world, Melbourne hosted another treat on the weekend with IOpera’s close up encounter of Mozart’s Così fan tutte.

Naomi Flatman as Dorabella and Louise Keast as Fiordiligi

In a spare but lively ignited showing, the work’s exploration of fidelity became effortlessly revealed, its more than 200 year old profound musical beauty and comical yet thought-provoking nature simultaneously brought together with aplomb.

The plot? Two privileged but unworldly sisters are duped after a bet is wagered between their adoring soldier-mate fiancés and philosophising friend Don Alfonso, who insists a woman’s fidelity is like the Arabian phoenix; everyone swears it exists but no one knows where. Under the pretence of being called away on battle duty, the men return as disguised, moustached Albanians, seduce the other’s partner and, to their shock, win their hearts – clearly not a victory they had hoped for.

Under novice director Jane Magão’s commendable hand, the loss of innocence shined through, along with a few bruised hearts and a helping of forgiveness. Così lends itself to all kinds of interpretations, but despite Magão playing safe with characters garbed in eye-pleasing period placed costumes, the overall results achieved by their smooth interplay and fullness of characterisation spoke with much contemporary relevance. Balancing the poignancy of the work without over-egging the comic aspects paid off.

A strong, well rehearsed cast sang with meaning and emotion to conductor David Kram’s unhurriedly paced music-making. In allowing moments to delightfully linger and energising the score without overwhelming the singers, Kram did nice work of Jonathan Lynees’ reduced orchestration. With an orchestra of ten on stage placed behind the action, however, the synchronisation between orchestra and the singers often slumped but the pieces were picked up without too much interference.

Darcy Carroll as Guglielmo as Naomi Flatman as Dorabella

One after another, Mozart’s priceless pearls of music and Lorenzo da Ponte’s witty and insightful libretto imparted their sublimity and introspection. And as it demands to be, the ensemble singing was particularly tidy and harmonious.

Soprano Louise Keast and mezzo-soprano Naomi Flatman were both radiant as sisters Fiordiligi and Dorabella, their opening duet, Ah guarda sorella, a gorgeously perfected introduction as they each praise their man.

As the more protective and cautious sibling, Keast’s succulent, foundation-firm soprano stood up to the task of delivering Fordiligi’s two big arias superbly, Act 2’s Per pietà, ben mio, perdona an especially captivating display as Fiordiligi attempts to banish desire for another man. Flatman’s demure but inquisitive Dorabella endeared to no end, her pliant mezzo and attractive tonal shading adding immense depth to her character.

A palpable camaraderie existed between baritone Darcy Carroll’s Guglielmo and Zachary McCulloch’s Ferrando, Darcy imposing in voice and presence and McCulloch singing with Italianate warmth. Darcy’s physical comedy flair and astute vocal expressivity were invaluable and McCulloch, while reaching his limits, certainly nailed Act 2’s deceptively challenging Un’aura amorosa with tear-inducing sensitivity.

Peter Tregear sang a distinguished Don Alfonso and, in a clever touch, presented as a man having been spurned by love and given up on it. Completing the lineup, the director herself cheekily ran the household as the servant Despina. Magão acted the part with effervescent charm, sweetness of voice and was a hoot in her disguises of quack and notary.

Così might often look somewhat misogynistic and out of touch with modern moral culture but even contemporary minds can’t escape the prickly and powerful conundrum it raises regarding love and desire, of fidelity and trust. For that, it is easy to see and feel it’s enduring allure.

Così fan tutte

IOpera

Lithuanian Club Theatre, Errol Street, North Melbourne

Until 2nd May 2021

Production Photos: Vivian Wheatley

Canberra's new national Opera makes an impressive debut with a handsome production of La Clemenza di Tito - Limelight Review

Published online at Limelight Magazine, 12th April 2021

https://www.limelightmagazine.com.au/reviews/la-clemenza-di-tito-national-opera/

Canberra, popularly known to mean “meeting place” in Ngunnawal (one of the Indigenous languages in the district when European settlers arrived), has a new opera company and opera lovers, as well as those curious about it, have a new destination to meet. In the midst of a pandemic, that’s a remarkable achievement, as was Saturday’s opening night of National Opera’s inaugural production of Mozart’s La Clemenza di Tito. With it, the overall quality heralds a confident rebirth for opera in the city, in no small measure thanks to Artistic Director and director of the production, Peter Coleman-Wright, who has assembled a fine team of artists.

Supposedly completed in just 18 days, La Clemenza di Tito was commissioned to celebrate the coronation of Emperor Leopold II of Prague. Naturally, exemplifying regal duty and imperial character in a glowing light was imperative. So, obliging with the story of a benevolent Roman ruler (Tito) who exonerates his best friend (Sesto) from an assassination attempt on his life, including the woman (Vitellia) who put him up to it, certainly highlights leadership, compassion and backbone. Tito’s short rule (79-81 AD) was viewed favourably by historians of the period with one such account by Suetonius noting Tito’s remark, should he have not helped anyone in a single day, “Friends, I have lost a day”. Leopold must have been honoured with the comparison, especially with such radiant music bestowed on him.

That musical gold shone from the stage of ANU’s Llewellyn Hall under conductor Dane Lam’s impressive orchestral interpretation. The pressure was on from the start to win the audience over after an unsettling 20-minute delay but all was forgotten when Lam served up a deliciously refined overture, then continued painting Mozart’s score with athleticism, insightfulness and emotional weight. With fortepiano before him, Lam also shifted to conducting from the keyboard while integrating the many recitatives with perceptiveness. At all times, the singing was supported with sensitivity. The Canberra Symphony Orchestra also responded commendably across the night with verve and diligence.

But why La Clemenza di Tito? Coleman-Wright’s production relates the story with clarity in a pared back context that flirts with Ancient Rome yet, neither being contemporary nor futuristic, creates its own artistic sense of time. Stage designer Mel Davies’ spatial layout of clean-cut marble steps and terraces amongst artificial grass and green hedges provides a thoughtful layout for the frequent entries and exits, with Victoria “Fi” Hopkins’ eccentric and eclectically tailored costumes adding flair. But Ancient Rome is in a bit of a mess. Titus’ throne is at risk of falling because Vitellia, daughter of the late emperor (deposed by Titus’ father), wants revenge. In the chambers of government on Capital Hill, is Canberra faring any better? Something about Mozart’s celebratory, 230-year-old opera has much potential to view the way we  see our own leaders’ use of power and clemency. In some respect a contemporary dialogue with Mozart’s work could have achieved more. Nevertheless, it’s a handsome looking staging and one that was carried off by some mouthwatering vocal artistry.

Heavily clad in scarlet and emphasising her character’s manipulative hand, there was no holding back the vengeance in UK-based Australian soprano Helena Dix’s electrifying performance as Vitellia. Dix’s return to the stage after her near-fatal battle with COVID-19 last year was nothing less than sensational. With both healthy and dynamic range and technique, from whisper-like to volcanic, and ornamental riches to add, Dix’s performance appeared effortless throughout. And God forbid her Vitellia succeeded in taking the throne. But in seeing Sesto accept punishment for his actions, Vitellia’s remorse surfaces and Dix captures it in stunning heartfelt form in Act 2’s Non più di fiori.

It was equally rewarding having UK-based Australian mezzo-soprano Catherine Carby back, whose passionate and agitated Sesto deservedly earned Tito’s clemency. Delivering magnificent soulfulness and grit, Carby convinced in portraying Sesto’s unrequited love for Vitellia while being putty in her hands, her Act 1 Parto, parto, ma tu, ben mio an especially throttling display of heartfelt emotion in agreeing to murder Tito.

In the titular role, Bradley Daley’s customarily striking and buttressed tenor disappointingly fell short of his best. A disconcerting unease marred Daley’s Tito, who appeared somewhat stiff and worn and an easy target for foul play. While Tito’s authority lacked, his commander of the guard brought some convincing strength in Andrew Collis’s loyal Publio.

In tandem with the meat of the plot lies the romance between Vitellia’s sister Servilia and Sesto’s friend Annio, which spices and convolutes the drama with interest. In the trouser role, beautifully voiced mezzo-soprano Eleanor Greenwood gave total purpose to Annio, rendering him with sincerity and elevating his part aptly as he plants the seed in Tito’s head to grant forgiveness for Sesto’s crime. And soprano Mikayla Tate’s purity of tone and presence served up ample credibility as Servilia.

Containing a rich mix of powerfully driven duets, trios and more, as well as a chorus of just 16 who sang resplendently beyond their number as the people of Rome, La Clemenza di Tito made an impressionable and uplifting start to Australia’s newest opera company. “Our dream is to build an inclusive and community-driven company”, says Coleman-Wright in the program’s welcome. That, I hope, is something Australians of all walks of life can be part of.

La Clemenza di Tito

National Opera Canberra

Llewellyn Hall, ANU

Until 17th April 2021

4-stars

Production Photos: Peter Hislop

Here's to a night of satisfying music at The Bowl with Victorian Opera's mood-changing The Pearl Fishers!

Published online at Limelight Magazine, 23rd April 2021

https://www.limelightmagazine.com.au/reviews/the-pearl-fishers-victorian-opera/

It turned out to be a mood-changing experience last night as the art of opera injected Melbourne’s season of outdoor COVID-safe live performance with its intoxicating grip at the iconic Sidney Myer Music Bowl. Georges Bizet’s The Pearl Fishers (Les pêcheurs de perles), I must say, doesn’t usually come to mind when I’m considering favourites. That said, taking away the trimmings of sets and costumes which often portray its ancient Ceylonese exoticism awkwardly, what is always highlighted is a score rich and wondrous. And Victorian Opera showcased it at its best with wave upon wave of deeply satisfying music and a superlative local cast. 

Kathryn Radcliffe as Leïla and Stephen Marsh as Zurga

Under The Bowl’s stretched steel shell, in cool but comfortable, windless conditions, the music resonated  with a combination of warmth, sensitivity and vigour as Artistic Director Richard Mills led Orchestra Victoria’s more than 50 musicians on stage. The playing was faultless, the music perfectly balanced and the tempi ever so thoughtful. And, from start to finish, the hard yards of preparation delivered meaning for what was just one performance only. 

Bizet was a mere 24 years old at the time of its premiere in 1863. The score exhibits wide-ranging colour and inventiveness, with much evidence of the signature he was to put on what is now the most popularly performed opera, Carmen, composed 12 years later. The plot has its downfalls but the work’s assortment and arrangement of arias, duets, trios and choruses add both engagement and dramatic structure. And  passions are in good supply in its story focusing on the bonds of friendship, love and loyalty between two fishermen, Zurga and Nadir, in love with the same women, the priestess Leïla, who herself has sworn an oath of obedience and chastity. 

In the first highlight of the night when Stephen Marsh stepped out as the newly elected leader of the fishing village, he owned the role and armed his character with a  commanding presence as Zurga. With every new role, Marsh goes from strength to strength, his flexing and smoky baritone a treasure to hear. Marsh seized every moment, including Act 3's introspective opening , “L'orage s'est calmé", as Zurga see-saws from remorse to jealousy and to which Marsh gave poignancy and depth. 

Passion and prowess came with Carlos E. Bárcenas’ impressive interpretation of Zurga’s returned friend, Nadir. Together and rivetingly in an early crowd-pleaser, Bárcenas and Marsh explored their characters’ friendship in one of opera’s most recognisable duets, Act 1’s “Au fond du temple saint”. Not long after, Nadir soliloquises on having broken his vow to Zurga and having pursued his love for Leïla. To this, in “Je crois entendre encore”, Bárcenas brought enormous gravity and penetrating form to the moment, his tenor agile and complex and use of falsetto exemplary.

 Carlos E. Bárcenas as Nadir with Richard Mills conducting
Orchestra Victoria

Portrayed with an elegantly poised demeanour and touch of vulnerability, soprano Kathryn Radcliffe sang Leïla with radiance and clarity, her Act 2 aria “Comme autrefois” especially mellifluous and seductive as Leïla ponders the times when she would secretly meet Nadir. Veiled and wearing a flowing gown in virginal white, one could also muse upon Radcliffe’s real life circumstances, or imagine Leïla’s plight, as she carries an unborn child. All the very best Kathryn. Your child was treated to the finest of art. 

Completing the principals, the familiar authority and thundering bass-baritone of Teddy Tahu Rhodes added significant weight to the high priest of Brahma, Nourabad, and, from the rear, the 28-member chorus were a combined strength of divinely sung fishermen, townsfolk, priests and priestesses, moulding every phrase from the jubilant to the funereal with excellence. 

Bar Leïla, the attire for the evening was black formals in what was more a concert performance than semi-staged as advertised. Nevertheless, Elizabeth Hill-Cooper’s subtle stage direction did lend a guiding light (one couldn’t rely the hard-to-see English titles) and the essence of the opera shone so much the better for it. 

Less than a couple of hours before the performance, I was on my couch feeling a little lethargic and nonchalant after a busy day. But then came that mood change and the beat which live opera can instigate. Much appreciated Victorian Opera! Oh, and let’s hope, too,  that The Bowl becomes a regular venue for a little season of opera in the future.

The Pearl Fishers

Victorian Opera

Sidney Myer Music Bowl

22nd April 2021

Performance Photos: Charlie Kinross

Ancient myths inspire a world premiere double bill brought to the stage in sparkling form by Victorian Opera

If only everyone could share in the experience of just how nourishing and enlightening opera can be. Of course, that’s not going to happen. We are all wired differently and life has an infinite array of options out there. Well, not quite during a pandemic. For almost a year, opera, along with all other performing arts, was locked out from the theatre. That didn’t so much rob you of who you are but did so of what it could bring to you. Happily, we’re all back together and two new short works commissioned by Victorian Opera and produced during lockdown exemplify the power and purpose of the art form as well as showcasing the company’s spirit of teamwork and adventure.

Shakira Dugan as Cassandra and Sam Sakker as Apollo

Simmering with passions and pertinence, composer Simon Bruckard and librettist Constantine Costi’s Cassandra heads this double bill in a powerfully synergised and lightning-strike work. Following a short interval, composer Kevin March and librettist Jane Montgomery Griffiths’ Echo and Narcissus dapples the senses and touches the soul with its ethereally woven threads and glittering rays of hope.

Dusting off their stories’ Ancient Greek mythological foundations, both artistic teams imbue them with contemporary relevance and identifiable characters. They stand apart musically but are splendidly aided and integrated by the miracle-making hand of Sam Strong’s fastidious direction and Anna Cordingley’s spiffy and sparkling sets and costumes.

Cassandra is a muscular stand-alone work which perfects the art of binding words and music with the dynamic range of spoken language. In all its seriousness, however, a little wit and playfulness add flavour. Having been rejected by Apollo’s slimy advances, all the while desperately trying to exhibit strength in the face of masculine toxicity and dominance, the work elevates a familiar issue. Cassandra is cursed to foresee the future yet believed by no one. Having warned of the fall of Troy and the death of her father Priam to no avail, she later addresses her audience with the wisdom that “Fate is sculptured by our hand”, and, in so saying, suggests a call to action, a call for change.

The instrumentation is spare (two pianos, saxophone and percussion) but presents deliciously evocative hues and jazzy sounds across its unpredictable, meandering course - a treat conducted by the composer Simon Bruckard himself.

The cast of three engaging artists fired all engines impressively also. Mezzo-soprano Shakira Dugan displays superlative maturity in the title role as the elegant and spirited Cassandra with singing as lush and seductive as the figure she embodies. Without fail, Dugan has her audience behind her, fearing for her and hoping for her. As Apollo, it’s welcoming to see Sam Sakker back in Melbourne resonating the air with his large, shapely and unforced tenor, his gaudy image of a black velvet track-suited and gold-chained sleaze bucket perhaps not so welcome. And muscular baritone Simon Meadows celebrates a little too early in party-like fashion with groove in his step while throwing caution to the wind in outstanding form as  Priam.

Nathan Lay as Narcissus and Kathryn Radcliffe as Echo

In the final scene, it appears Troy falls and a glittering rain of confetti comes down as a symbol of the devastation of its buildings and statues. It’s a stunning stage image which integrates cleverly when the curtain goes up on Echo and Narcissus. What was the debris of glitter from Cassandra becomes the statuesque figures of an ensemble of six female singers who play a large and pivotal part in its more allegorical telling - Elizabeth Barrow, Emily Barker-Briggs, Heather Fletcher, Louise Keast, Jane Magao and Ursula Paez’s singing, harmony and balance are impeccable.

For being too talkative, Echo is cursed to repeat the last words of others. Narcissus is likewise cursed for breaking so many hearts and is doomed to fall in love with his own reflection, which he does so after rejecting Echo who has fallen in love with him.

March’s score for viola, woodwind, harp and percussion is a delicate blend of subtle and melodious music that shimmers throughout. As Echo, soprano Kathryn Radcliffe is radiant as ever, her pure and crystalline tone floating and lingering wondrously, albeit melancholically, as she suffers rejection while warm and glowing baritone Nathan Lay is deeply focused in his performance and his own image as Narcissus. Both succeed in imparting the meditative quality of the work. Nevertheless, as divine as it sounds, it feels a tad longer than it needs to be.

The two works couple nicely, giving ancient myth modern light in reminding us, like they always have again and again, of the flaws and truths about ourselves. In that respect, they’ll forever inspire new work.

Cassandra and Echo and Narcissus

Victorian Opera

Playhouse Theatre, Arts Centre Melbourne

Until 20th March 2021

Production Photos: Jeff Busby

Enchantment never wanes in Victorian Opera's revival of Respighi's The Sleeping Beauty

Commissioned by Herald Sun - submitted 23rd February 2021 (unpublished)

One of Victorian Opera’s greatest strengths is its ability to iron out any stiffness in the perception of opera by presenting a range of works that appeal to a broad audience. And children are never forgotten. 

Nadine Dimitrievitch and Vincent Crowley
as dancers of the Princess and the Prince 

Originally written in 1921 for the puppet theatre, Respighi’s The Sleeping Beauty is another such example. Reviving the piece after its 2017 company premiere, it’s a compact and magical theatrical treat. It’s also an illuminating work in a time when live performance is navigating its way to a new beginning. 

Centre stage are the larger than life puppets designed and crafted by Joe Blanck and manoeuvred by puppeteers dressed in black. Mostly in black too are the singers, who deftly shadow their crafted counterpart in Nancy Black’s thoughtfully integrated direction. 

In the storytelling, if you wondered why in heaven’s name a curse by the Green Fairy was put on the infant princess, there is perhaps a hint in an early line from a trio of comic gangly frogs exclaiming that an approaching man would skin them alive. Suggesting human and nature’s complicated relationship and that man must learn his place in it, nature never fails to return hope, which the Blue Fairy gives back. It feels relevant to our times, or do we search for relevance because of the circumstance we exist in? An impressive ensemble certainly aided that possibility.

Cast of The Sleeping Beauty featuring puppets of
the King, the Blue Fairy and the Queen

Puppeteer Nadine Dimitrievitch dances out the grown up Princess with poise as Georgia Wilkinson sings with a rich and elegant tone. Waking her up from her slumber, puppeteer Vincent Crowley makes priceless leaps and bounds on an obstacle course getting to the castle while Carlos E. Bárcenas is his ever-trusty nimble tenor. But so much more happens before all that.

Raphael Wong and Dimity Shepherd imbue the King and Queen with heft and subtlety. Shepherd also gives animated amusement to the mangy Cat. There is the weary old Ambassador given towering voice to by Michael Lampard. Kathryn Radcliffe cuts the air with florid turns and crystalline beauty as the Blue Fairy. Juel Riggall is a memorably threatening Green Fairy and Liane Keegan is a foundation-firm compliment to the Old Lady and opportunistic Duchess, as is Stephen Marsh’s resonant and oaky Woodcutter.

To Respighi’s eclectic and entertaining mix, Phoebe Briggs conducted a polished Orchestra Victoria with delicateness and grit. Only the prolonged pauses between scenes while the cast took their places distracted from the experience. But the enchantment never waned. 

The Sleeping Beauty

Victorian Opera 

Palais Theatre 

Until 26th February 

4-stars

Production Photos: Jeff Busby

Das Rheingold opens as a glinting nugget as part of Melbourne Opera's first instalment of Wagner's Ring Cycle

Commissioned by Herald Sun - submitted 6th February 2021 (unpublished)

In the world of opera, Wagner’s Der Ring Des Nibelungen is its greatest show on earth, a bucket-list, 4-part epic that begins with Das Rheingold and incorporates more than 15 hours of music. Nothing short of a miraculous achievement in challenging times, Melbourne Opera has revealed a glinting nugget in this first instalment. The second, Die Walküre, is scheduled for 2022 with the entire Ring to be presented in 2023. 

Eddie Muliaumaseali’i as Wotan and James Egglestone as Loge

It’s a story of greed, dirty deals and renouncement of love to attain power, told across music of enormous expanse - a cursed ring forged from stolen gold precipitates life-altering events. Drawn on Nordic myth, gods, mortals, giants and dwarfs inhabit a world in which a sense of unease and trickery is pervasive. It sounds familiar!

Director Suzanne Chaundy instils confidence to support and endure the marathon ahead, obliging with a successful and legible interpretation in a subtly abstracted production. 

It begins lucently. Two Rhinemaidens swim across the heights via flexi-poles as their three operatic sisters sing radiantly from ringed swings. But the centrepiece of Andrew Bailey’s design is a large flat plane with a circular cut out that lowers and raises like a drawbridge, serving the drama thoughtfully all the way to the gods’ entry into their new home, Valhalla.

Just as impressive was the breadth of local expertise in the cast. 

Adrenaline-rich baritone Simon Meadows was the standout as the slimy dwarf Alberich, robber of the Rhinemaidens’ gold and forger of the ring. As Wotan, ruler of the gods, gravelly bass Eddie Muliaumaseali’i showed command and balance even when at times overpowered by the orchestra. 

James Eggelstone as Loge, Darcy Carroll as Donner,
Jason Wasley as Froh, Eddie Muliaumaseali’i as Wotan, 
Sarah Sweeting as Fricka and Lee Abrahmsen as Freia

Sarah Sweeting oozed lushness as his wife Fricka, Lee Abrahmsen was exhilarating as the ransomed goddess of youth, Freia, and clarion tenor James Egglestone was a dynamically charged Loge, Wotan’s calculating executive servant. Giants Adrian Tamburini and Steven Gallop pounded solidly as Fasolt and Fafner and a special mention to Michael Lapina’s cringing Mime and Darcy Carroll for an imposing Donner as he summoned the thunderstorm to clear the air. 

One more hurdle was getting conductor Anthony Negus out of the UK and into quarantine in time for rehearsals. What he presided over on opening night was a soundscape that rose to excellence with an orchestra of more than 90 musicians. Some fuzzy brass in the earlier stages aside, from the moment Wotan and Loge descended into Nibelheim the music remained formidable. 

Das Rheingold 

Melbourne Opera 

Regent Theatre 

Until 7th February 2021

Ulumbarra Theatre, Bendigo 

21st February 2021

4-stars