Andrew's Opera
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La Boheme TV travesty from Sydney Opera House.
La Boheme, Wednesday 29th October 2008. Broadcast on ABC2.
This was a sorry piece of opera on television. The inevitable comparison with recent live broadcasts from the Met and elsewhere shows this was a dismal failure in almost every respect.
La Boheme revolves around Rodolfo yet Italian tenor Carlo Barricelli was not up to the mark. He looked awkward on stage and while he may be adequate in the opera theatre, he was not the man for close-ups, visually or vocally. His voice sounded strained and unpleasant at times. He managed the most taxing notes of ‘Che gelida manina’ but had little nuanced line to his singing.
Ms Halloran (Mimi) and Ms Farrugia (Musetta) both sang adequately, as did the students, played by Jose Carbo, Richard Anderson and Warwick Fyfe. Mr Carbo has a fine stage presence and it is a shame he seems to be underutilised by the company. John Bolton-Wood was good as the Jewish landlord and elderly paramour, Alcindoro. However, with the exception of the Waltz Song in Act II, the opera never quite came to life for me. It was like a cast of competent understudies.
From a technical viewpoint a series of things went horribly wrong. In fact, hardly anything went right. Latecomers walking down the rows blocked the picture like an old fashioned cinema. The lighting seemed to be skewed pink and orange at times, notably in the Café Momus scene. In the middle of Act III there was a sudden break of continuity as the scene jumped forward a minute or more. Rodolfo appears from nowhere, like a ‘Scotty beam me up’ character. The camera views were conventional but they excluded the orchestra and conductor which should be half the pleasure of live opera. The characters each had head microphones so the sound was artificially mixed and unlike what it sounded like in the theatre, most obvious with Mimi’s tubercular coughing. We expect better than this from our national broadcaster
During the 15 minute intermission a non-English speaking singer was interviewed without an interpreter. Unlike Manuel on Fawlty Towers, it was not funny. Why would the ABC choose to use one of the country’s best known comedians, Chris Taylor as co-host? He looked and sounded like he was playing a comedy routine. Along with Jennifer Byrne, they showed not the slightest insight into the opera and each used an enthusiastic ‘over-the-top’ approach as if this were the greatest show on earth which it certainly was not!
Chris Taylor told us, incorrectly, that this was a ‘brand new’ production. In his interview with Ms Farrugia he mis-pronounced Musetta as Masetto on repeated occasions despite being corrected. Maestro Cuneo’s corridor interview was haltering and meaningless, following shallow and leading questions from Jennifer Byrne. There was also an irrelevant reference to Puccini being ‘popular with the ladies’.
Mr Taylor may have jinxed the broadcast in saying they would ‘try to cross to Federation Square later’. When they did, our screen went blank for several minutes, without explanation. And when we did finally see the southern capital, only about a dozen diehards were in the huge square watching the big screen. Simon Phillips’ only useful comment was that his production was not really meant to be seen from close-up.
They say that everything in the theatre is about timing. Well, it was hopeful at best, incompetent at worst, to broadcast La Boheme mid-week at the end of a run of 6 performances in 12 days. The singers could not have been in top form. The commentary was unrehearsed and amateurish. The transmission and camera work had deficiencies. The Benoit ‘rent-collection’ scene had almost 50 changes of camera, more like a tennis match than a clever verbal stoush between seated characters. Both Mr Barricelli and Mr Fyfe took liberties with Puccini’s score.
As a cruel twist, the broadcast finished with the famous vocals of David Hobson and Cheryl Barker singing the Act I duet during the credits. The original video of La Boheme from this company with Baz Luhrmann is still popular to this day and serves to remind us of what this company could do with some imagination and flair which is sadly lacking today.
Rather than trying to repeat history, a broadcast of the company’s recent production of Billy Budd would have been much more logical. It had a world renowned cast, director and conductor and would have been a unique and worthy Australian contribution to the world of opera on film with an international market. It might have even made money!
This La Boheme broadcast provides further evidence that the opera company is being mismanaged. Such pedestrian standards should cause an immediate review of the company before it is too late. If the subscriber base wanes and public funding tied to jobs and standards dries up then repertory opera could cease to exist in this country.
Comments by Andrew Byrne ..
This was a sorry piece of opera on television. The inevitable comparison with recent live broadcasts from the Met and elsewhere shows this was a dismal failure in almost every respect.
La Boheme revolves around Rodolfo yet Italian tenor Carlo Barricelli was not up to the mark. He looked awkward on stage and while he may be adequate in the opera theatre, he was not the man for close-ups, visually or vocally. His voice sounded strained and unpleasant at times. He managed the most taxing notes of ‘Che gelida manina’ but had little nuanced line to his singing.
Ms Halloran (Mimi) and Ms Farrugia (Musetta) both sang adequately, as did the students, played by Jose Carbo, Richard Anderson and Warwick Fyfe. Mr Carbo has a fine stage presence and it is a shame he seems to be underutilised by the company. John Bolton-Wood was good as the Jewish landlord and elderly paramour, Alcindoro. However, with the exception of the Waltz Song in Act II, the opera never quite came to life for me. It was like a cast of competent understudies.
From a technical viewpoint a series of things went horribly wrong. In fact, hardly anything went right. Latecomers walking down the rows blocked the picture like an old fashioned cinema. The lighting seemed to be skewed pink and orange at times, notably in the Café Momus scene. In the middle of Act III there was a sudden break of continuity as the scene jumped forward a minute or more. Rodolfo appears from nowhere, like a ‘Scotty beam me up’ character. The camera views were conventional but they excluded the orchestra and conductor which should be half the pleasure of live opera. The characters each had head microphones so the sound was artificially mixed and unlike what it sounded like in the theatre, most obvious with Mimi’s tubercular coughing. We expect better than this from our national broadcaster
During the 15 minute intermission a non-English speaking singer was interviewed without an interpreter. Unlike Manuel on Fawlty Towers, it was not funny. Why would the ABC choose to use one of the country’s best known comedians, Chris Taylor as co-host? He looked and sounded like he was playing a comedy routine. Along with Jennifer Byrne, they showed not the slightest insight into the opera and each used an enthusiastic ‘over-the-top’ approach as if this were the greatest show on earth which it certainly was not!
Chris Taylor told us, incorrectly, that this was a ‘brand new’ production. In his interview with Ms Farrugia he mis-pronounced Musetta as Masetto on repeated occasions despite being corrected. Maestro Cuneo’s corridor interview was haltering and meaningless, following shallow and leading questions from Jennifer Byrne. There was also an irrelevant reference to Puccini being ‘popular with the ladies’.
Mr Taylor may have jinxed the broadcast in saying they would ‘try to cross to Federation Square later’. When they did, our screen went blank for several minutes, without explanation. And when we did finally see the southern capital, only about a dozen diehards were in the huge square watching the big screen. Simon Phillips’ only useful comment was that his production was not really meant to be seen from close-up.
They say that everything in the theatre is about timing. Well, it was hopeful at best, incompetent at worst, to broadcast La Boheme mid-week at the end of a run of 6 performances in 12 days. The singers could not have been in top form. The commentary was unrehearsed and amateurish. The transmission and camera work had deficiencies. The Benoit ‘rent-collection’ scene had almost 50 changes of camera, more like a tennis match than a clever verbal stoush between seated characters. Both Mr Barricelli and Mr Fyfe took liberties with Puccini’s score.
As a cruel twist, the broadcast finished with the famous vocals of David Hobson and Cheryl Barker singing the Act I duet during the credits. The original video of La Boheme from this company with Baz Luhrmann is still popular to this day and serves to remind us of what this company could do with some imagination and flair which is sadly lacking today.
Rather than trying to repeat history, a broadcast of the company’s recent production of Billy Budd would have been much more logical. It had a world renowned cast, director and conductor and would have been a unique and worthy Australian contribution to the world of opera on film with an international market. It might have even made money!
This La Boheme broadcast provides further evidence that the opera company is being mismanaged. Such pedestrian standards should cause an immediate review of the company before it is too late. If the subscriber base wanes and public funding tied to jobs and standards dries up then repertory opera could cease to exist in this country.
Comments by Andrew Byrne ..
Adequate La Boheme does not imply adequate management.
La Bohème, Sydney Opera House. Tuesday 14th October 2008.
Rodolfo - Carlo Barricelli
Mimi - Antoinette Halloran
Musetta - Amelia Farrugia
Marcello - José Carbó
Schaunard - Warwick Fyfe
Colline - Richard Anderson
Benoit/Alcindoro - John Bolton Wood
c. Ollivier-Philippe Cunéo
Dear Colleagues,
This non-subscription La Boheme outing went ‘without incident’. Most of the cast members were more than adequate and the performance seemed well rehearsed and balanced.
Australian tenor Carlo Barricelli had quite a success, with a ringing top to the voice if some slightly rough edges elsewhere and a couple of unimportant flat notes. He is a tall, well proportioned figure on stage, acting confidently with a good grip on this long and difficult role. Ms Halloran gave us a credible Mimi. Basso Mr Anderson sounded better than he did in Lucia - but I cannot condone singing the famous “Coat” aria seated on the toilet! Mr Carbo is almost too good for Marcello. This role should normally be done by an ‘up and coming’ baritone: Mr Carbo has definitely ‘arrived’ on the international scene and is to sing at La Scala in a few months. Needless to say he sang well, even if Puccini did not give him an aria. Warwick Fyfe sang with his usual gusto.
The company has given these young Bohemians the Herculean task of singing four acts with only one intermission … as well as six performances with only one rest day between, rather than the two normally allowed. This sort of scheduling is dangerous and uncalled-for in my medical opinion. Does occupational health and safety not extend to vocal cords? After singing major performances endoscopy often shows oedema and inflammatory changes and these need time to resolve. Every opera singer is familiar with this ‘cycle’, yet few young singers can afford to refuse to sing, even excessively, when invited by the impresario. Management seems to forget that these roles were written as vocal ‘marathons’. I note that the recent Britten and Janacek performances conducted by Richard Hickox had an average 2.7 days between performances compared with 1.5 for the La Boheme company.
This demonstrates further the deep flaws of which the company stands accused in the media across the country in recent times. The casting of Pearlfishers, Cinderella, Don Giovanni and My Fair Lady was mostly unadventuresome, using local artists and hardly an international star singer between them. Yet Billy Budd had four international stars (Tahu Rhodes, Langridge, Hickox and Armfield) and two Australasian stars of the first order (Wegner and Coad) in the one opera!! This is obviously lopsided, biased and inconsistent. And great if you are a Britten fan but too bad for the rest.
The Tuesday night, near sell-out house seemed delighted with this performance of La Boheme. So the management will again justify themselves based on the profit line and audience response. Yet management has been derelict on so many fronts that it is tragic as it is indefensible. The Saturday Age newspaper has a major front page feature pointing to some of these deficiencies (see links below). Yet the musical director, general manager and the board chair have continued to deny any shortcomings which is unrealistic and self defeating in the circumstances. Sadly, soprano Cheryl Barker has moved from her regal neutrality by writing an uninsightful and blistering letter to the editor in support of current management while condemning ‘a few bitter and disgruntled people’. I have not found any independent expert opinion in favour of opera management recently. Something has to ‘give’.
To justify its large public grant, the company used to employ several dozen Australian soloist singers who could count on job security, buy a house, raise a family like the rest of us. Now all soloists are on short term contracts and there are no on-salary positions - except in administration.
Comments by Andrew Byrne .. http://www.redfernclinic.com/opera/critique/blog/
http://www.theage.com.au/opinion/editorial/chorus-of-controversy-not-in-the-same-key-20081017-5390.html?page=-1
http://www.theage.com.au/national/opera-legacys-fraught-finale-20081017-53ag.html
Rodolfo - Carlo Barricelli
Mimi - Antoinette Halloran
Musetta - Amelia Farrugia
Marcello - José Carbó
Schaunard - Warwick Fyfe
Colline - Richard Anderson
Benoit/Alcindoro - John Bolton Wood
c. Ollivier-Philippe Cunéo
Dear Colleagues,
This non-subscription La Boheme outing went ‘without incident’. Most of the cast members were more than adequate and the performance seemed well rehearsed and balanced.
Australian tenor Carlo Barricelli had quite a success, with a ringing top to the voice if some slightly rough edges elsewhere and a couple of unimportant flat notes. He is a tall, well proportioned figure on stage, acting confidently with a good grip on this long and difficult role. Ms Halloran gave us a credible Mimi. Basso Mr Anderson sounded better than he did in Lucia - but I cannot condone singing the famous “Coat” aria seated on the toilet! Mr Carbo is almost too good for Marcello. This role should normally be done by an ‘up and coming’ baritone: Mr Carbo has definitely ‘arrived’ on the international scene and is to sing at La Scala in a few months. Needless to say he sang well, even if Puccini did not give him an aria. Warwick Fyfe sang with his usual gusto.
The company has given these young Bohemians the Herculean task of singing four acts with only one intermission … as well as six performances with only one rest day between, rather than the two normally allowed. This sort of scheduling is dangerous and uncalled-for in my medical opinion. Does occupational health and safety not extend to vocal cords? After singing major performances endoscopy often shows oedema and inflammatory changes and these need time to resolve. Every opera singer is familiar with this ‘cycle’, yet few young singers can afford to refuse to sing, even excessively, when invited by the impresario. Management seems to forget that these roles were written as vocal ‘marathons’. I note that the recent Britten and Janacek performances conducted by Richard Hickox had an average 2.7 days between performances compared with 1.5 for the La Boheme company.
This demonstrates further the deep flaws of which the company stands accused in the media across the country in recent times. The casting of Pearlfishers, Cinderella, Don Giovanni and My Fair Lady was mostly unadventuresome, using local artists and hardly an international star singer between them. Yet Billy Budd had four international stars (Tahu Rhodes, Langridge, Hickox and Armfield) and two Australasian stars of the first order (Wegner and Coad) in the one opera!! This is obviously lopsided, biased and inconsistent. And great if you are a Britten fan but too bad for the rest.
The Tuesday night, near sell-out house seemed delighted with this performance of La Boheme. So the management will again justify themselves based on the profit line and audience response. Yet management has been derelict on so many fronts that it is tragic as it is indefensible. The Saturday Age newspaper has a major front page feature pointing to some of these deficiencies (see links below). Yet the musical director, general manager and the board chair have continued to deny any shortcomings which is unrealistic and self defeating in the circumstances. Sadly, soprano Cheryl Barker has moved from her regal neutrality by writing an uninsightful and blistering letter to the editor in support of current management while condemning ‘a few bitter and disgruntled people’. I have not found any independent expert opinion in favour of opera management recently. Something has to ‘give’.
To justify its large public grant, the company used to employ several dozen Australian soloist singers who could count on job security, buy a house, raise a family like the rest of us. Now all soloists are on short term contracts and there are no on-salary positions - except in administration.
Comments by Andrew Byrne .. http://www.redfernclinic.com/opera/critique/blog/
http://www.theage.com.au/opinion/editorial/chorus-of-controversy-not-in-the-same-key-20081017-5390.html?page=-1
http://www.theage.com.au/national/opera-legacys-fraught-finale-20081017-53ag.html
Janacek’s Makropulos revisited in Sydney.
The Makropulos Secret - Sydney Opera House Tuesday 7th October 2008
As Emilia Marty, Cheryl Barker shone in this stellar performance of Janacek’s second last opera. The company’s longest serving soloist, John Pringle was splendid as Prus in his final role before retirement from the company. He showed once again how his professionalism can carve out a complex character in opera. English tenor Peter Wedd had the vocal and dramatic goods for Gregor. I was a little surprised that he was chosen over a local artist, although good tenors are always in short supply. The supporting singers were also all excellent, opening with Kanan Breen as the legal librarian, Vitek. Almost up-staging everyone was Robert Gard as Hauk. Rather like Elena Obratsova in a wheel chair, he was a perfectly credible senior citizen: audible, geriatric and pathetic. One might say ‘beyond Falstaff’.
Richard Hickox was in his element and the Opera and Ballet Orchestra did a fine job with this singular score. They received a thunderous ovation.
The curtain first went up on this Prague thriller in 1926. Whether unconsciously or not, Janacek seems to have taken many strains, orchestrations and rhythms from Fanciulla del West which premiered in 1910. Most 20th century composers were influenced by Puccini in some way … and yet Makropulos Secret (or “Case” or “Affair”) is no ‘copy-cat’ work.
During act one of the performance all the stage lighting suddenly blacked out while the principals’ spotlights continued to shine for their duet. After struggling on for several bars, Richard Hickox gestured for the orchestra to stop, turned to the audience and said something like “well, stumped by electricity” in his strong English accent. At that very moment, the stage lights came back on. He turned back several pages, as in a rehearsal, announced a particular suitable bar number, then starting only when the characters had resumed the earlier positions on the stage. It was edifying to see company members coping in such unusual and unpredictable circumstances. By coincidence I had said to a friend before going in that something extraordinary often happens in this opera - once a singer even died on stage in a Met performance.
The story could only exist in opera or a religious text, yet it is a foil for a marvellous unfolding ‘who-done-it’ drama based between an immortal diva and a long standing inheritance dispute along the lines of Jarndyce and Jarndyce. Armfield’s production and Oberle’s settings are so stylish that one wonders why the company let it all languish in the basement for 12 years. And while I am not a Janacek fan, his operas have always been quite popular in Sydney, notably Jenufa of which we have had three productions in living memory.
The opening night house was heavily ‘papered’ with lots of company members, family, friends and hangers-on seen in good seats. I made a point of sitting in the back row of the circle (completely alone, of course) for one act to take in the least favourable acoustic in the hall. It was surprisingly good as every note and word could be clearly heard, thanks partly to excellent diction of the singers.
Like the Billy Budd season, the high quality of the work should promise better houses and there are many Janacek fans who should not miss this outing. I heard that last week the Britten was almost a sell-out.
It is a great shame that the management has still not responded productively to the current severe and widespread media criticism. Much of the ‘commentary’ could be put to rest by a few phone-calls, yet digging in and denying any shortcomings is not a wise strategy, especially when lives and careers of vital Australian artists are involved, not to mention the quality of opera performances. An impresario needs to be like the curator of a museum … yet we are dealing with live exhibits here. Artists, like management, can be difficult and egotistical. But the public deserves better and communication is the name of the game. Let’s hope that reason shines through and people manage to swallow their pride and return to the armistice lines before the ‘war’ started. And a ‘sorry’ here and there would not go astray I believe.
We hope that the new season of La Boheme is a great success and that returned Australian tenor Carlo Barricelli makes a classy Rodolfo. The company has already made unusual demands by providing only one ‘lay day’ between most performances. But the show must go on! Season starts Tuesday 14th October
Comments by Andrew Byrne ..
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
As Emilia Marty, Cheryl Barker shone in this stellar performance of Janacek’s second last opera. The company’s longest serving soloist, John Pringle was splendid as Prus in his final role before retirement from the company. He showed once again how his professionalism can carve out a complex character in opera. English tenor Peter Wedd had the vocal and dramatic goods for Gregor. I was a little surprised that he was chosen over a local artist, although good tenors are always in short supply. The supporting singers were also all excellent, opening with Kanan Breen as the legal librarian, Vitek. Almost up-staging everyone was Robert Gard as Hauk. Rather like Elena Obratsova in a wheel chair, he was a perfectly credible senior citizen: audible, geriatric and pathetic. One might say ‘beyond Falstaff’.
Richard Hickox was in his element and the Opera and Ballet Orchestra did a fine job with this singular score. They received a thunderous ovation.
The curtain first went up on this Prague thriller in 1926. Whether unconsciously or not, Janacek seems to have taken many strains, orchestrations and rhythms from Fanciulla del West which premiered in 1910. Most 20th century composers were influenced by Puccini in some way … and yet Makropulos Secret (or “Case” or “Affair”) is no ‘copy-cat’ work.
During act one of the performance all the stage lighting suddenly blacked out while the principals’ spotlights continued to shine for their duet. After struggling on for several bars, Richard Hickox gestured for the orchestra to stop, turned to the audience and said something like “well, stumped by electricity” in his strong English accent. At that very moment, the stage lights came back on. He turned back several pages, as in a rehearsal, announced a particular suitable bar number, then starting only when the characters had resumed the earlier positions on the stage. It was edifying to see company members coping in such unusual and unpredictable circumstances. By coincidence I had said to a friend before going in that something extraordinary often happens in this opera - once a singer even died on stage in a Met performance.
The story could only exist in opera or a religious text, yet it is a foil for a marvellous unfolding ‘who-done-it’ drama based between an immortal diva and a long standing inheritance dispute along the lines of Jarndyce and Jarndyce. Armfield’s production and Oberle’s settings are so stylish that one wonders why the company let it all languish in the basement for 12 years. And while I am not a Janacek fan, his operas have always been quite popular in Sydney, notably Jenufa of which we have had three productions in living memory.
The opening night house was heavily ‘papered’ with lots of company members, family, friends and hangers-on seen in good seats. I made a point of sitting in the back row of the circle (completely alone, of course) for one act to take in the least favourable acoustic in the hall. It was surprisingly good as every note and word could be clearly heard, thanks partly to excellent diction of the singers.
Like the Billy Budd season, the high quality of the work should promise better houses and there are many Janacek fans who should not miss this outing. I heard that last week the Britten was almost a sell-out.
It is a great shame that the management has still not responded productively to the current severe and widespread media criticism. Much of the ‘commentary’ could be put to rest by a few phone-calls, yet digging in and denying any shortcomings is not a wise strategy, especially when lives and careers of vital Australian artists are involved, not to mention the quality of opera performances. An impresario needs to be like the curator of a museum … yet we are dealing with live exhibits here. Artists, like management, can be difficult and egotistical. But the public deserves better and communication is the name of the game. Let’s hope that reason shines through and people manage to swallow their pride and return to the armistice lines before the ‘war’ started. And a ‘sorry’ here and there would not go astray I believe.
We hope that the new season of La Boheme is a great success and that returned Australian tenor Carlo Barricelli makes a classy Rodolfo. The company has already made unusual demands by providing only one ‘lay day’ between most performances. But the show must go on! Season starts Tuesday 14th October
Comments by Andrew Byrne ..
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
Billy Budd opening Wed 24th September. Sydney Opera House.
Dear Colleagues,
This Gala opening demonstrated the best and worst features of Australia’s national opera company.
The performance was exemplary by any standards, including four artists of major international reputation (Tahu Rhodes, Hickox, Armfield and Philip Langridge). Almost their equal in world repute and rising to the operatic occasion were local talents Conal Coad and John Wegner. With more than adequate supporting singers, this was probably the highest standard cast seen in Australia for any opera in a very long time. It is a shame, even a crime, that it was not filmed and broadcast to high definition cinemas around the world for those who enjoy Benjamin Britten’s works. I am personally not a Britten fan but clearly his works are considered masterpieces by the experts.
Billy Budd is a handsome, free-thinking rating who is first lauded then set-up, accused, tried and hanged for mutiny on board an English warship circa 1800. Speculation about gay love, jealousy, morals and Christian themes seem to have taken on a life of their own, well beyond the rather clunky libretto in my view. This production uses an enormous revolving rectangular stage-upon-a-stage. This in turn has two levels, rising hydraulically at limitless angles to create the sense of a ship’s decks in many situations. It moved flawlessly and slow enough not to cause sea sickness.
Despite all of these positive factors, the opera hall was poorly patronised. The back three rows of the stalls and rear 7 rows of the circle had nary a seat filled. The rest of the hall was patchy and after intermission it was even worse.
It is disappointing and demoralising for artists to perform to unfilled houses … so what went wrong? Why is a modern English masterpiece ignored by the Sydney audience, despite a world-class cast? Is seven performances an excessive number? There were 20 or more Carmens and Bohemes this year, but these are for a different ‘mass’ audience. Billy Budd is a 20th century opera with a limited appeal to the average opera-goer. I call it a connoisseur’s opera.
From an artistic standpoint, all companies should occasionally do this sort of work, even though hard, cold economics might argue against it (and one would do My Fair Lady year-round). Yet the decision to do two such operas concurrently is highly questionable. Makropoulos Case is also conducted by Richard Hickox. This is another 20th century ‘boutique’ opera with 6 scheduled performances before an unscheduled return of La Boheme with a ‘house’ cast.
After all the recent adverse publicity on nepotism I was surprised to see the Hickox family name in not one but three places in the program. One hopes that all cast members had open auditions for their roles in this opera to ensure standards and equity for artists.
It is disappointing that Maestro Hickox was overseas the first four operas of this main Sydney season and that he leaves before the end of it (Stephen Mould conducts the final two performances of Makropoulos Case). I understand that Mr Hickox was not even present for the announcement of the new season for 2009. His avowed commitment to Australia would currently seem to be limited to little more than 7 weeks at a time.
2009 promises more of the same with a recycling of some good ‘stable’ singers but without as many of the world’s top artists as in previous seasons. It is the presence of such stars which can ignite that spark where good opera can rise above the ordinary and create emotive and memorable art. Just like films and football, opera needs its stars to rise above the ordinary. A cursory look at any month’s roster from 1990 to 2004 will show numerous ‘greats’. I just pulled out winter of 2000 to find Hagegard, Cole, Prokina, Sylvester, Rootering, Tahu Rhodes, Coad, Ransom, Shelton, Summers, Fritzsch, Auguin, Young. Our local resident ‘stars’ were also of a higher standard than today: Carden, Shanks, Allman, Cillario, etc. It is depressing to think of the decline in numbers of such stars appearing in recent years and this is one of the major criticisms I have of the company. Ten years ago it was rare to have a performance without at least one international ‘star’. Now it happens all the time.
“Life amplified”? Small deal, perhaps, but it is another embarrassment that the company is still using this slogan on its advertising material. Amplification is anathema to grand opera and the slogan should be changed. Why does a quality opera company need a slogan anyway?
Some more good news is that the problem only needs minor adjustments to fix it. We have a good orchestra (although the brass section made some frightful noises at the Billy Budd opening) and chorus. We have the world’s best known opera house. The management needs to get onto the world’s top agents to secure the (expensive) services of some of the top 50 opera singers (their names are no secret) to slot into 2009 season if at all possible, but certainly for 2010 if the company is to survive as a serious purveyor of good opera. And they need to audition local singers fairly and put them on 5 year contracts, just like the management.
Comments by Andrew Byrne ..
This Gala opening demonstrated the best and worst features of Australia’s national opera company.
The performance was exemplary by any standards, including four artists of major international reputation (Tahu Rhodes, Hickox, Armfield and Philip Langridge). Almost their equal in world repute and rising to the operatic occasion were local talents Conal Coad and John Wegner. With more than adequate supporting singers, this was probably the highest standard cast seen in Australia for any opera in a very long time. It is a shame, even a crime, that it was not filmed and broadcast to high definition cinemas around the world for those who enjoy Benjamin Britten’s works. I am personally not a Britten fan but clearly his works are considered masterpieces by the experts.
Billy Budd is a handsome, free-thinking rating who is first lauded then set-up, accused, tried and hanged for mutiny on board an English warship circa 1800. Speculation about gay love, jealousy, morals and Christian themes seem to have taken on a life of their own, well beyond the rather clunky libretto in my view. This production uses an enormous revolving rectangular stage-upon-a-stage. This in turn has two levels, rising hydraulically at limitless angles to create the sense of a ship’s decks in many situations. It moved flawlessly and slow enough not to cause sea sickness.
Despite all of these positive factors, the opera hall was poorly patronised. The back three rows of the stalls and rear 7 rows of the circle had nary a seat filled. The rest of the hall was patchy and after intermission it was even worse.
It is disappointing and demoralising for artists to perform to unfilled houses … so what went wrong? Why is a modern English masterpiece ignored by the Sydney audience, despite a world-class cast? Is seven performances an excessive number? There were 20 or more Carmens and Bohemes this year, but these are for a different ‘mass’ audience. Billy Budd is a 20th century opera with a limited appeal to the average opera-goer. I call it a connoisseur’s opera.
From an artistic standpoint, all companies should occasionally do this sort of work, even though hard, cold economics might argue against it (and one would do My Fair Lady year-round). Yet the decision to do two such operas concurrently is highly questionable. Makropoulos Case is also conducted by Richard Hickox. This is another 20th century ‘boutique’ opera with 6 scheduled performances before an unscheduled return of La Boheme with a ‘house’ cast.
After all the recent adverse publicity on nepotism I was surprised to see the Hickox family name in not one but three places in the program. One hopes that all cast members had open auditions for their roles in this opera to ensure standards and equity for artists.
It is disappointing that Maestro Hickox was overseas the first four operas of this main Sydney season and that he leaves before the end of it (Stephen Mould conducts the final two performances of Makropoulos Case). I understand that Mr Hickox was not even present for the announcement of the new season for 2009. His avowed commitment to Australia would currently seem to be limited to little more than 7 weeks at a time.
2009 promises more of the same with a recycling of some good ‘stable’ singers but without as many of the world’s top artists as in previous seasons. It is the presence of such stars which can ignite that spark where good opera can rise above the ordinary and create emotive and memorable art. Just like films and football, opera needs its stars to rise above the ordinary. A cursory look at any month’s roster from 1990 to 2004 will show numerous ‘greats’. I just pulled out winter of 2000 to find Hagegard, Cole, Prokina, Sylvester, Rootering, Tahu Rhodes, Coad, Ransom, Shelton, Summers, Fritzsch, Auguin, Young. Our local resident ‘stars’ were also of a higher standard than today: Carden, Shanks, Allman, Cillario, etc. It is depressing to think of the decline in numbers of such stars appearing in recent years and this is one of the major criticisms I have of the company. Ten years ago it was rare to have a performance without at least one international ‘star’. Now it happens all the time.
“Life amplified”? Small deal, perhaps, but it is another embarrassment that the company is still using this slogan on its advertising material. Amplification is anathema to grand opera and the slogan should be changed. Why does a quality opera company need a slogan anyway?
Some more good news is that the problem only needs minor adjustments to fix it. We have a good orchestra (although the brass section made some frightful noises at the Billy Budd opening) and chorus. We have the world’s best known opera house. The management needs to get onto the world’s top agents to secure the (expensive) services of some of the top 50 opera singers (their names are no secret) to slot into 2009 season if at all possible, but certainly for 2010 if the company is to survive as a serious purveyor of good opera. And they need to audition local singers fairly and put them on 5 year contracts, just like the management.
Comments by Andrew Byrne ..
Pedestrian Pearlfishers at Sydney Opera House.
The Pearlfishers. Georges Bizet. Sydney Opera House. Thursday, 4th September 2008
Zurga - Michael Lewis
Nadir - Henry Choo
Leila - Leanne Keneally
Nourabad - Shane Lawrencev
Conductor - Emmanuel Joel-Hornak
Director Ann-Margaret Pettersson
Sets - John Conkin
Dear Colleagues,
This Pearlfishers opening was passing pedestrian, never quite reaching ignition temperature in my view. In this engaging and original production Zurga is a British officer, living a flash-back.
Michael Lewis, an artist I admire enormously, seemed to be at his vocal limits on two occasions in the first act, yet his confident professionalism shone through. He is a veteran of three seasons since 2000 but by now the age difference with his on-stage tenor rival is showing.
Henry Choo managed the difficult tessitura of Nadir and his sense of drama made the role ‘work’.
Ms Kenneally also sang competently, even beautifully at times. She was ‘believable’, which is saying something in opera!
Shane Lawrencev played a fine Norabad.
Emmanuel Joel-Hornak conducts the present run - a lot of good music came from the Opera and Ballet orchestra. The chorus was also first rate.
The principal vocal performances would all have been considered grand as understudies but on the night, none really had that ‘star’ quality which is so easy to recognise but so hard to define. The ‘wow’ factor. It seems that Australian audiences are no longer offered ‘stars’ as often as we were in the past.
On looking at the last two outings of this opera in Sydney in my own diary I note further evidence of the depressing decline in standards of the opera company. Last time we heard up-and-coming American tenor Eric Cutler and previously David Miller as Nadir. The former went on the greater things (Chicago Lyric, Covent Garden, the Met, etc) and a recent guest return to Sydney. The latter joined the highly successful international ‘cross-over’ group Il Divo. Past conductors Patrick Summers and Richard Bonynge are both of vast international renown. This is not to denigrate any of the participants in the current 2008 run, but it reflects the company’s current policies of scaling back on international-quality guest artists.
Mr Joel-Hornak has a handsome conducting CV, making one or two fewer international-class artists in the opera on this occasion. The world of opera is a small one and dependable tenors are probably the rarest artists in practice.
The Sydney auditorium on Thursday was far from full with rear rows and side boxes all near empty, making it a marketing disaster. And it is bad for the performers too. Why were these seats not given to students, donors, ‘frequent flyers’ or others? Also bad for performers, I note that including the dress rehearsal, there will have been three performances within 5 days this week, a punishing schedule for any principal singer. The same happens later in the season with a Tuesday, Thursday and Saturday (matinee) marathon for the company. It seems that the bottom line is more important than caring for voices which normally requires at least two rest days between “big-sings”.
The opening night audience showed its satisfaction with a large ovation. This is gratifying, especially at a time when subscriptions are being renewed. However, as Nellie Melba knew, this does not prove much about technical and artistic standards (“Sing ‘em muck, it’s all they understand” she once wrote of the Australian audience). Yet one should never underestimate an audience, especially when so many in it could recall the heady ‘Sutherland years’.
Comments by Andrew Byrne ..
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
Sydney opera review 1928 http://www.redfernclinic.com/opera/critique/blog/2006/07/grand-opera-toti-dal-montes-success.php4
Zurga - Michael Lewis
Nadir - Henry Choo
Leila - Leanne Keneally
Nourabad - Shane Lawrencev
Conductor - Emmanuel Joel-Hornak
Director Ann-Margaret Pettersson
Sets - John Conkin
Dear Colleagues,
This Pearlfishers opening was passing pedestrian, never quite reaching ignition temperature in my view. In this engaging and original production Zurga is a British officer, living a flash-back.
Michael Lewis, an artist I admire enormously, seemed to be at his vocal limits on two occasions in the first act, yet his confident professionalism shone through. He is a veteran of three seasons since 2000 but by now the age difference with his on-stage tenor rival is showing.
Henry Choo managed the difficult tessitura of Nadir and his sense of drama made the role ‘work’.
Ms Kenneally also sang competently, even beautifully at times. She was ‘believable’, which is saying something in opera!
Shane Lawrencev played a fine Norabad.
Emmanuel Joel-Hornak conducts the present run - a lot of good music came from the Opera and Ballet orchestra. The chorus was also first rate.
The principal vocal performances would all have been considered grand as understudies but on the night, none really had that ‘star’ quality which is so easy to recognise but so hard to define. The ‘wow’ factor. It seems that Australian audiences are no longer offered ‘stars’ as often as we were in the past.
On looking at the last two outings of this opera in Sydney in my own diary I note further evidence of the depressing decline in standards of the opera company. Last time we heard up-and-coming American tenor Eric Cutler and previously David Miller as Nadir. The former went on the greater things (Chicago Lyric, Covent Garden, the Met, etc) and a recent guest return to Sydney. The latter joined the highly successful international ‘cross-over’ group Il Divo. Past conductors Patrick Summers and Richard Bonynge are both of vast international renown. This is not to denigrate any of the participants in the current 2008 run, but it reflects the company’s current policies of scaling back on international-quality guest artists.
Mr Joel-Hornak has a handsome conducting CV, making one or two fewer international-class artists in the opera on this occasion. The world of opera is a small one and dependable tenors are probably the rarest artists in practice.
The Sydney auditorium on Thursday was far from full with rear rows and side boxes all near empty, making it a marketing disaster. And it is bad for the performers too. Why were these seats not given to students, donors, ‘frequent flyers’ or others? Also bad for performers, I note that including the dress rehearsal, there will have been three performances within 5 days this week, a punishing schedule for any principal singer. The same happens later in the season with a Tuesday, Thursday and Saturday (matinee) marathon for the company. It seems that the bottom line is more important than caring for voices which normally requires at least two rest days between “big-sings”.
The opening night audience showed its satisfaction with a large ovation. This is gratifying, especially at a time when subscriptions are being renewed. However, as Nellie Melba knew, this does not prove much about technical and artistic standards (“Sing ‘em muck, it’s all they understand” she once wrote of the Australian audience). Yet one should never underestimate an audience, especially when so many in it could recall the heady ‘Sutherland years’.
Comments by Andrew Byrne ..
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
Sydney opera review 1928 http://www.redfernclinic.com/opera/critique/blog/2006/07/grand-opera-toti-dal-montes-success.php4
Lunicidal Lucia mid-season. Show saved by Pacific tenor.
Lucia di Lammermoor. Sydney Opera House, Wed 27 August 2008
I don’t often do mid-season reviews, but this performance was notable, albeit in adversity. Eric Cultler as Edgardo was indisposed with a winter virus and new Kiwi/Islander tenor Benjamin Makisi took the role.
He is a substantial man with a substantial talent. He is an imposing figure on stage, also being quite tall. He has singular big-eyed good looks, being of Samoan and Tongan ancestry we were informed in the notes supplied. His voice is silky and even up the register with a ringing top which he only ‘let rip’ momentarily once towards the end of the first act duet with Ms Matthews, possibly touching a high C or even E flat. He takes centre-stage in the Act III Scene 2 cemetery scene, and he did not disappoint. Right at the end as he stabs himself a loose-fitting wig was saved by a quick wit. And he did all this without a central prompter - this was one role for which Sutherland did NOT need a prompter ... and the original classic John Copley production was in the Concert Hall.
I do not understand why Mr Makisi was not being used for the role of Arturo. Kanan Breen struggles valiantly as he did with the Cassio character recently. Such roles are clearly inappropriate for his voice, and there are more suited singers like Mr Makisi on the payroll just waiting ‘in the wings’. I note that Mr Makisi is not on the company web-site. Good tenors are so rare that this stellar performance should surely be recognised as Mr Makisi’s ‘big break’.
Jose Carbo sang and acted superbly as Enrico, the ambitious brother. His first act aria and cabaletta were breathtaking. He has a way of dramatic ‘freeze-framing’ which makes each movement or expression, when it comes, all the more meaningful.
Emma Matthews has come into her own as Lucia under Richard Bonynge’s baton. Her mad scene was a tour-de-force the likes of which we have not seen or heard since the Sutherland days. In some respects she was better, even with a smaller voice. While she ‘copies’ the Sutherland vocals closely, she plays a quite different Lucia dramatically. She is more a character of ‘pity’ than of fear and lunacy which Sutherland played. And this is appropriate as she is only half the size. Her terminal high notes were accurately placed, beautiful in quality and as long as I have ever heard - and yet were still tasteful. Her final limp-fall collapse down the central stairs was spectacular and her performance received a (partial) standing ovation.
The management of any organisation involves the making of large numbers of decisions, each ultimately aimed at the same thing, maintenance of standards and possibly improving them. So, while management should be congratulated on retaining Mr Makisi, one wonders about many other decisions.
The current media debate about artistic standards is one that has to be had. With so many participants having vested interests one way or the other, an independent review is what is needed in my view. The contrast could not be more stark between previous periods’ high profile artists (Botha, Connell, Schorg, Mitchell, McIntyre, Cole, Tsau, Marton, Vaness, Glossop, Milnes, Tourangeau, Horne, Pavarotti, Te Kanawa, Loringar, Resnick and Marenzi) and recent promises (Meirion, Berkeley Steele, Todd-Simpson, Owens and other less-than-satisfactory encounters). Certain other notable overseas artists came for less popular ‘connoisseur’ operas, and were thus not heard by many regular subscribers. Something has to “give”.
Comments by Andrew Byrne ..
http://www.redfernclinic.com/opera/critique/blog/
I don’t often do mid-season reviews, but this performance was notable, albeit in adversity. Eric Cultler as Edgardo was indisposed with a winter virus and new Kiwi/Islander tenor Benjamin Makisi took the role.
He is a substantial man with a substantial talent. He is an imposing figure on stage, also being quite tall. He has singular big-eyed good looks, being of Samoan and Tongan ancestry we were informed in the notes supplied. His voice is silky and even up the register with a ringing top which he only ‘let rip’ momentarily once towards the end of the first act duet with Ms Matthews, possibly touching a high C or even E flat. He takes centre-stage in the Act III Scene 2 cemetery scene, and he did not disappoint. Right at the end as he stabs himself a loose-fitting wig was saved by a quick wit. And he did all this without a central prompter - this was one role for which Sutherland did NOT need a prompter ... and the original classic John Copley production was in the Concert Hall.
I do not understand why Mr Makisi was not being used for the role of Arturo. Kanan Breen struggles valiantly as he did with the Cassio character recently. Such roles are clearly inappropriate for his voice, and there are more suited singers like Mr Makisi on the payroll just waiting ‘in the wings’. I note that Mr Makisi is not on the company web-site. Good tenors are so rare that this stellar performance should surely be recognised as Mr Makisi’s ‘big break’.
Jose Carbo sang and acted superbly as Enrico, the ambitious brother. His first act aria and cabaletta were breathtaking. He has a way of dramatic ‘freeze-framing’ which makes each movement or expression, when it comes, all the more meaningful.
Emma Matthews has come into her own as Lucia under Richard Bonynge’s baton. Her mad scene was a tour-de-force the likes of which we have not seen or heard since the Sutherland days. In some respects she was better, even with a smaller voice. While she ‘copies’ the Sutherland vocals closely, she plays a quite different Lucia dramatically. She is more a character of ‘pity’ than of fear and lunacy which Sutherland played. And this is appropriate as she is only half the size. Her terminal high notes were accurately placed, beautiful in quality and as long as I have ever heard - and yet were still tasteful. Her final limp-fall collapse down the central stairs was spectacular and her performance received a (partial) standing ovation.
The management of any organisation involves the making of large numbers of decisions, each ultimately aimed at the same thing, maintenance of standards and possibly improving them. So, while management should be congratulated on retaining Mr Makisi, one wonders about many other decisions.
The current media debate about artistic standards is one that has to be had. With so many participants having vested interests one way or the other, an independent review is what is needed in my view. The contrast could not be more stark between previous periods’ high profile artists (Botha, Connell, Schorg, Mitchell, McIntyre, Cole, Tsau, Marton, Vaness, Glossop, Milnes, Tourangeau, Horne, Pavarotti, Te Kanawa, Loringar, Resnick and Marenzi) and recent promises (Meirion, Berkeley Steele, Todd-Simpson, Owens and other less-than-satisfactory encounters). Certain other notable overseas artists came for less popular ‘connoisseur’ operas, and were thus not heard by many regular subscribers. Something has to “give”.
Comments by Andrew Byrne ..
http://www.redfernclinic.com/opera/critique/blog/
Orlando - Handel. Sydney Opera House. Monday 18th August 2008
Dear Colleagues,
This Monday night Gala demonstrated some serious points raised in the media in recent days. There is just nobody in charge of this ship and there are doubts as to her seaworthiness to my mind. The seven o’clock starting time was obviously a blunder as the opera had been pared down by 50 minutes, thus ending at 9.35pm, an early night indeed! I don’t think this is Handel’s greatest work - at least as it is presented here. That the second night is on Wednesday is also a serious deviation from long-time theatrical rules where 2 rest days are normally allowed between opera performances.
Handel wrote highly inspired and memorable operatic scenes as well as a lot of his own original orchestral and vocal continuo some might term “wall-paper”. Orlando seems to have more of the latter than the former, starting out with a ‘skipping-time’ overture. It might seem unfair to the singers who each had difficult vocals … yet none reached the heights of his immortal pieces like “Lascia, io piango” (Rinaldo), “Ombra mai fu” (Xerxes) or “V'adoro, pupille” (Julius Caesar), “Iris hence”; “Sleep why dost”, “Where ere you walk” (Semele, his last opera), not to mention “Tornami a vagghegia” (Alcina). While Orlando’s ‘mad scene’ is a most spectacular aria technically, it does not have the invention of melody, phrasing and custom ‘pauses’ of any of the above to my ear. The opera is certainly an interesting piece of musical archaeology … and it may even be a truly great opera in its original form - the Sydney audience may never know. Apparently it only received 10 performances in 1733 and was not revived until 1959.
There was no regular brass section in this baroque orchestra (two horns appeared at intervals). There was no chorus. There is no part for solo tenor or baritone voice in this opera. Orlando was clearly written as a show-piece for the male divo yet this production uses a contralto, Sonia Prina for the hero. The soldier Medoro is sung by Tobias Cole in falsetto range, a role originally written for mezzo-soprano according to Wikipedia. Dressed convincingly as a man, Ms Prina’s mid-range coloratura was indeed phenomenal and one wonders what other vocal music of hers was omitted in the savage cuts. It is unlikely to be 50 minutes of da capo repeats but it is hard to believe that there was anything ‘too difficult’ for Ms Prina either. Rachel Durkin sang ‘regally’ throughout as Angelica but without raising any goose bumps on this listener’s old flesh.
Richard Alexander seems miscast in the ghost role, not showing his substantial talents in their best light. Some of the lowest notes were just not in the voice. This ‘Sarastro’ type role needs a bigger, deeper basso profundo voice, especially when he is the only character who is not some sort of soprano. Hye Seoung Kwon seemed under-powered and retiring as the shepherdess. One wonders who is making these odd casting decisions or are they just distant copies of others’ decisions elsewhere (Salzburg Festival, for instance).
The opera opens in a war office with a writing desk, table lamp, globe of the world and large wall map. The next scene saw the entire set replaced by the wall map, hugely enlarged. This then broke into columns, openings and walls at various depths to create and interesting and diverse setting for progress of the story. The confusing, cross-gender dramatis personae all taking cupid’s aim for each other was incorporated into a quirky and charming production. Orlando was dressed in a beautiful tan coloured leather suit. He/she suddenly fainted to the floor in the first scene creating dramatic tension from the very start … as well as creating a flaw in the great general’s persona. The direction by Justin Way was sympathetic and original with just enough of the unexpected.
Because of the shepherd connection, there were models of sheep on stage throughout the opera. The cute idea became laboured when they started to multiply and fly, as if to ignite some distant Greek cauldron! At one stage the text promised goats but these did not materialise, mercifully. At one point there were ‘stars above’ which must have been designed by some deprived city soul who had never actually seen the sky at night and how beautiful it actually is. The last act featured a massively enlarged electric lamp pointing our way … then a miniature of the original setting … all very clever if not entirely original (Hansel and Gretal) nor particularly meaningful. Fantasy is fun, but an opera is opera - and that means voice and melody.
Singing is all around us in our daily lives … but grand opera is the Olympics of singing. It is the loudest, highest, finest and most original performers who should win out and be heard again. We often see operas in concert ... but even with the cleverest production, we never see opera dramas without singing! The first job of an opera singer is to be heard up the back. If that voice is still beautiful and expressive, this is a measure of success. Not all of the singers in Orlando fitted this category. If management either sat up the back more often themselves or else interviewed subscribers who do, we may have less criticism and more logical decisions on repertoire and who should sing it.
Our brochure promised ‘early music specialist’ Trevor Pinnock as conductor. There was no explanation given on the night that maestro was Paul Goodwin who is not even on the company’s web site. He led the small, specialist orchestra proficiently. I wondered if he was responsible for all the cuts or if it was a joint vivisection.
For me, Orlando remains a city in Florida. This Monday evening Opera Gala was not an auspicious event and fault must be sheeted back to management. Musical director, Richard Hickox has not been sighted for months, which is a fault.
Comments by Andrew Byrne .. http://www.redfernclinic.com/opera/critique/blog/
This Monday night Gala demonstrated some serious points raised in the media in recent days. There is just nobody in charge of this ship and there are doubts as to her seaworthiness to my mind. The seven o’clock starting time was obviously a blunder as the opera had been pared down by 50 minutes, thus ending at 9.35pm, an early night indeed! I don’t think this is Handel’s greatest work - at least as it is presented here. That the second night is on Wednesday is also a serious deviation from long-time theatrical rules where 2 rest days are normally allowed between opera performances.
Handel wrote highly inspired and memorable operatic scenes as well as a lot of his own original orchestral and vocal continuo some might term “wall-paper”. Orlando seems to have more of the latter than the former, starting out with a ‘skipping-time’ overture. It might seem unfair to the singers who each had difficult vocals … yet none reached the heights of his immortal pieces like “Lascia, io piango” (Rinaldo), “Ombra mai fu” (Xerxes) or “V'adoro, pupille” (Julius Caesar), “Iris hence”; “Sleep why dost”, “Where ere you walk” (Semele, his last opera), not to mention “Tornami a vagghegia” (Alcina). While Orlando’s ‘mad scene’ is a most spectacular aria technically, it does not have the invention of melody, phrasing and custom ‘pauses’ of any of the above to my ear. The opera is certainly an interesting piece of musical archaeology … and it may even be a truly great opera in its original form - the Sydney audience may never know. Apparently it only received 10 performances in 1733 and was not revived until 1959.
There was no regular brass section in this baroque orchestra (two horns appeared at intervals). There was no chorus. There is no part for solo tenor or baritone voice in this opera. Orlando was clearly written as a show-piece for the male divo yet this production uses a contralto, Sonia Prina for the hero. The soldier Medoro is sung by Tobias Cole in falsetto range, a role originally written for mezzo-soprano according to Wikipedia. Dressed convincingly as a man, Ms Prina’s mid-range coloratura was indeed phenomenal and one wonders what other vocal music of hers was omitted in the savage cuts. It is unlikely to be 50 minutes of da capo repeats but it is hard to believe that there was anything ‘too difficult’ for Ms Prina either. Rachel Durkin sang ‘regally’ throughout as Angelica but without raising any goose bumps on this listener’s old flesh.
Richard Alexander seems miscast in the ghost role, not showing his substantial talents in their best light. Some of the lowest notes were just not in the voice. This ‘Sarastro’ type role needs a bigger, deeper basso profundo voice, especially when he is the only character who is not some sort of soprano. Hye Seoung Kwon seemed under-powered and retiring as the shepherdess. One wonders who is making these odd casting decisions or are they just distant copies of others’ decisions elsewhere (Salzburg Festival, for instance).
The opera opens in a war office with a writing desk, table lamp, globe of the world and large wall map. The next scene saw the entire set replaced by the wall map, hugely enlarged. This then broke into columns, openings and walls at various depths to create and interesting and diverse setting for progress of the story. The confusing, cross-gender dramatis personae all taking cupid’s aim for each other was incorporated into a quirky and charming production. Orlando was dressed in a beautiful tan coloured leather suit. He/she suddenly fainted to the floor in the first scene creating dramatic tension from the very start … as well as creating a flaw in the great general’s persona. The direction by Justin Way was sympathetic and original with just enough of the unexpected.
Because of the shepherd connection, there were models of sheep on stage throughout the opera. The cute idea became laboured when they started to multiply and fly, as if to ignite some distant Greek cauldron! At one stage the text promised goats but these did not materialise, mercifully. At one point there were ‘stars above’ which must have been designed by some deprived city soul who had never actually seen the sky at night and how beautiful it actually is. The last act featured a massively enlarged electric lamp pointing our way … then a miniature of the original setting … all very clever if not entirely original (Hansel and Gretal) nor particularly meaningful. Fantasy is fun, but an opera is opera - and that means voice and melody.
Singing is all around us in our daily lives … but grand opera is the Olympics of singing. It is the loudest, highest, finest and most original performers who should win out and be heard again. We often see operas in concert ... but even with the cleverest production, we never see opera dramas without singing! The first job of an opera singer is to be heard up the back. If that voice is still beautiful and expressive, this is a measure of success. Not all of the singers in Orlando fitted this category. If management either sat up the back more often themselves or else interviewed subscribers who do, we may have less criticism and more logical decisions on repertoire and who should sing it.
Our brochure promised ‘early music specialist’ Trevor Pinnock as conductor. There was no explanation given on the night that maestro was Paul Goodwin who is not even on the company’s web site. He led the small, specialist orchestra proficiently. I wondered if he was responsible for all the cuts or if it was a joint vivisection.
For me, Orlando remains a city in Florida. This Monday evening Opera Gala was not an auspicious event and fault must be sheeted back to management. Musical director, Richard Hickox has not been sighted for months, which is a fault.
Comments by Andrew Byrne .. http://www.redfernclinic.com/opera/critique/blog/
Sydney Lucia success. Sutherland's costumes severely cut-down!
Lucia di Lammermoor. Sydney Opera House, Wed 30th July 2008
This Lucia opening was a splendid affair. John Copley knows how to present opera while Bardon’s sets and Stennett’s costumes are classics. Such a production should be treated as history lesson for modern directors, every aspect enhancing the story line while never impeding the singing which is what an opera audience wants above all else. Nothing in the production draws attention to the director which cannot be said of many modern productions. This production was originated for Joan Sutherland to be done in the Concert Hall before being re-sized for the Opera Hall. This run is being conducted by Richard Bonynge, just like the original, proving his artistic longevity.
Emma Matthews is ready for this role. While her voice has little in common with that of Joan Sutherland, it is a role in which Matthews plays her own particular bride of Lammermoor. She can afford to be more energetic on stage, especially during her mad scene from crouching to lying on the ground and spinning, sautéing, collapsing, etc. Likewise, her vocal acrobatics were extraordinary, only once briefly departing from good taste in a duet. She used virtually all of the ‘Sutherland’ ornaments with great style and accuracy. Full throated high E flats ended the fountain cabaletta as well as the two third act show-pieces. With a tall, handsome tenor they made the perfect, if tragic couple.
Jose Carbo was an excellent Enrico, putting in all the baritone flourishes with his usual flair. Happily, the Wolf Crag scene was included, allowing us to hear this rare gem of the male duet repertory. In many ways Carbo was the star of the night.
American Eric Cutler returned to Australia and was a creditable Edgardo. He has a pleasant vocal timbre with a strong projection and fine dramatic sense. His cemetery scene was vocally engaging as it was devastating dramatically.
Basso Richard Anderson has a large range, singing the tutor’s role more youthfully, but with a plunging richness to his low notes.
The support singers were not up to the high standard of the main roles. The company used to employ over 100 solo singers but now has only a small group of ‘favourites’ of varying competence doing small roles. Some of the problem may be casting while some may be nerves on opening night. These roles should usually be done by young singers ‘on the way up’ in my view. Sutherland played Clotilde, the maid, long before she played Norma.
As I often state, we are privileged to have such a professional orchestra and chorus and neither let the side down (if we ignore the very first note of the opera, ‘fluffed’ by the horns).
Comments by Andrew Byrne ..
Surgery web page: http://www.redfernclinic.com/
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
New York in 2008: http://ajbtravels.blogspot.com/
New York in 1922: http://bpresent.com/harry/code/10b_bowery.php
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
This Lucia opening was a splendid affair. John Copley knows how to present opera while Bardon’s sets and Stennett’s costumes are classics. Such a production should be treated as history lesson for modern directors, every aspect enhancing the story line while never impeding the singing which is what an opera audience wants above all else. Nothing in the production draws attention to the director which cannot be said of many modern productions. This production was originated for Joan Sutherland to be done in the Concert Hall before being re-sized for the Opera Hall. This run is being conducted by Richard Bonynge, just like the original, proving his artistic longevity.
Emma Matthews is ready for this role. While her voice has little in common with that of Joan Sutherland, it is a role in which Matthews plays her own particular bride of Lammermoor. She can afford to be more energetic on stage, especially during her mad scene from crouching to lying on the ground and spinning, sautéing, collapsing, etc. Likewise, her vocal acrobatics were extraordinary, only once briefly departing from good taste in a duet. She used virtually all of the ‘Sutherland’ ornaments with great style and accuracy. Full throated high E flats ended the fountain cabaletta as well as the two third act show-pieces. With a tall, handsome tenor they made the perfect, if tragic couple.
Jose Carbo was an excellent Enrico, putting in all the baritone flourishes with his usual flair. Happily, the Wolf Crag scene was included, allowing us to hear this rare gem of the male duet repertory. In many ways Carbo was the star of the night.
American Eric Cutler returned to Australia and was a creditable Edgardo. He has a pleasant vocal timbre with a strong projection and fine dramatic sense. His cemetery scene was vocally engaging as it was devastating dramatically.
Basso Richard Anderson has a large range, singing the tutor’s role more youthfully, but with a plunging richness to his low notes.
The support singers were not up to the high standard of the main roles. The company used to employ over 100 solo singers but now has only a small group of ‘favourites’ of varying competence doing small roles. Some of the problem may be casting while some may be nerves on opening night. These roles should usually be done by young singers ‘on the way up’ in my view. Sutherland played Clotilde, the maid, long before she played Norma.
As I often state, we are privileged to have such a professional orchestra and chorus and neither let the side down (if we ignore the very first note of the opera, ‘fluffed’ by the horns).
Comments by Andrew Byrne ..
Surgery web page: http://www.redfernclinic.com/
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
New York in 2008: http://ajbtravels.blogspot.com/
New York in 1922: http://bpresent.com/harry/code/10b_bowery.php
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Full blooded Otello at Sydney Opera House: Friday 18th July 2008.
Otello by Verdi. Sydney Opera House Friday 18th July 2008
At last the opera company has managed a smash hit, full blooded opera after two near misses. The revival of Harry Kupfer’s stair-mounted production of Otello was well received by a discerning Sydney public.
The best thing about Otello was the title role. Dennis O’Neill sang splendidly in the relentless tale of his undoing. His ‘Esultate’ was ringing and focussed, as were ‘Si pel ciel’ (with Summers), ‘Ora e per sempre, addio’ and the death scene. He was indeed the Venetian Lion!
Jonathan Summers has all it takes for the role of Iago, vocally and dramatically. He bounded around the stage like someone half his years and the voice was responsive across the wide range required. The challenging drinking song in Act 1 was energetic and proficient, its high notes rolling off perfectly. His ‘credo’ was solid. He made an entirely credible ‘mean machine’.
Cheryl Barker has a fine middle voice, however, she can tend to sound ‘plum in the mouth’ or nasal when outside this range. Few however could complain at her sympathetic portrayal of Desdemona which is well crafted, making her captivating yet vulnerable. Her ‘Willow song’ and Ave Maria following were poised and beautiful.
Kupfer’s modern production has all 4 acts dominated by a massive ‘face-on’ staircase, the right quarter of which has been ‘bombed out’ (there are even circular remnants of the damaged ceiling above). Two strips of richly patterned carpet intersect at right angles with a massive Atlas-holding-the-world statue half way up the relentless bank of stairs. Atop are half a dozen double louvre doors leading to a vertiginous veranda. Much of the action takes place on the steps themselves, making it very awkward for the singers. Only the distant upper landing, narrow strip near the footlights and a mere gap to the left are available for normal performing. The latter is all we have to resemble a bedroom for Act 4.
Kupfer has the chorus rush from the upper level at the first roaring notes of the opera to populate the stairs like a wave rushes up a beach. It is very effective dramatically yet an occupational safety officer may have some objections. The staircase might not pass muster under today’s building codes, having 20 steep, uninterrupted steps. I was told that the rear ‘stage’ stairs are even more perilous.
Kanen Breen managed the role of Cassio but it is not his ideal part (his Hoffmann characters were marvellous). On the other hand, Stephen Bennett, a one-time very fine Leporello for this company was performing the relatively small role of Montano. Jacqueline Dark again played a credible Emilia, the composite role of Iago’s wife and Desdemona’s maid. She and Mr Summers were in the original 2003 production featuring Frank Poretta conducted by Simone Young. The latter happened to be in the opening night audience along with lots of other dignitaries in town for the Catholic festivities and Pope’s visit. I was surprised that we still have not seen musical director Mr Richard Hickox so far this season.
The orchestra under Simon Hewett was equal to the enormous demands of this complex work. The fortissimi and pianissimi were most marked. From this performance, I find it hard to imagine a better sound coming from an improved pit design, although any measure to reduce aural damage in orchestra members is to be encouraged.
The opera company chorus also did a superb job, dealing with difficult demands vocally - not to mention the dangerous stage work.
Comments by Andrew Byrne ..
http://www.redfernclinic.com/opera/critique/blog/
At last the opera company has managed a smash hit, full blooded opera after two near misses. The revival of Harry Kupfer’s stair-mounted production of Otello was well received by a discerning Sydney public.
The best thing about Otello was the title role. Dennis O’Neill sang splendidly in the relentless tale of his undoing. His ‘Esultate’ was ringing and focussed, as were ‘Si pel ciel’ (with Summers), ‘Ora e per sempre, addio’ and the death scene. He was indeed the Venetian Lion!
Jonathan Summers has all it takes for the role of Iago, vocally and dramatically. He bounded around the stage like someone half his years and the voice was responsive across the wide range required. The challenging drinking song in Act 1 was energetic and proficient, its high notes rolling off perfectly. His ‘credo’ was solid. He made an entirely credible ‘mean machine’.
Cheryl Barker has a fine middle voice, however, she can tend to sound ‘plum in the mouth’ or nasal when outside this range. Few however could complain at her sympathetic portrayal of Desdemona which is well crafted, making her captivating yet vulnerable. Her ‘Willow song’ and Ave Maria following were poised and beautiful.
Kupfer’s modern production has all 4 acts dominated by a massive ‘face-on’ staircase, the right quarter of which has been ‘bombed out’ (there are even circular remnants of the damaged ceiling above). Two strips of richly patterned carpet intersect at right angles with a massive Atlas-holding-the-world statue half way up the relentless bank of stairs. Atop are half a dozen double louvre doors leading to a vertiginous veranda. Much of the action takes place on the steps themselves, making it very awkward for the singers. Only the distant upper landing, narrow strip near the footlights and a mere gap to the left are available for normal performing. The latter is all we have to resemble a bedroom for Act 4.
Kupfer has the chorus rush from the upper level at the first roaring notes of the opera to populate the stairs like a wave rushes up a beach. It is very effective dramatically yet an occupational safety officer may have some objections. The staircase might not pass muster under today’s building codes, having 20 steep, uninterrupted steps. I was told that the rear ‘stage’ stairs are even more perilous.
Kanen Breen managed the role of Cassio but it is not his ideal part (his Hoffmann characters were marvellous). On the other hand, Stephen Bennett, a one-time very fine Leporello for this company was performing the relatively small role of Montano. Jacqueline Dark again played a credible Emilia, the composite role of Iago’s wife and Desdemona’s maid. She and Mr Summers were in the original 2003 production featuring Frank Poretta conducted by Simone Young. The latter happened to be in the opening night audience along with lots of other dignitaries in town for the Catholic festivities and Pope’s visit. I was surprised that we still have not seen musical director Mr Richard Hickox so far this season.
The orchestra under Simon Hewett was equal to the enormous demands of this complex work. The fortissimi and pianissimi were most marked. From this performance, I find it hard to imagine a better sound coming from an improved pit design, although any measure to reduce aural damage in orchestra members is to be encouraged.
The opera company chorus also did a superb job, dealing with difficult demands vocally - not to mention the dangerous stage work.
Comments by Andrew Byrne ..
http://www.redfernclinic.com/opera/critique/blog/
Don Giovanni at the Sydney Opera House 5th July 2008
Don Giovanni at the Sydney Opera House. 7.30pm Saturday 5th July, 2008. Beautiful singing, unsympathetic production.
Gala opening of new production by Elke Neidhardt, designs by Michael Scott-Mitchell. “Bathing machines are 'in', "Il mio tesoro" is out!”
Dear Colleagues,
During the overture we were confronted with a huge hanging digital sign flashing numerals from 4000 down towards zero along with images, strokes and hurdy gerdy effects interposed across the stage. Like much of what occurred later, there seemed no rhyme or reason to this neon wizardry.
We were then led through the evil, small-town narrative of Don Giovanni … on this occasion with no recognisable town, no villa, no balcony, no furnishings, no decor, no Spanish streetscape for Elvira to get lost in as well as for the Don to be chased through.
The set was dominated by ugly ‘floating’ black and white triangles bearing the enlarged images of burnt tree-trunks. They were manoeuvred awkwardly on hydraulic rams and might better have been simply suspended from the flies without all the fuss. Numerous other angular illuminated shapes appeared and disappeared to little purpose until some were spray-painted by the Don who turned his hand to graffiti, as if the libretto did not give him enough bad behaviour.
These triangles framed rows of black and grey ‘lavatories’ in various guises used as hidey holes, entrances and exits. It was not clear why the Don had to take a shower on stage in the middle of the action unless it was to draw attention to the director. The nudity warning was spurious and probably a publicity stunt as there was simply no nudity on stage … unless you count an indistinct image through frosted glass.
This ugly and unsympathetic production displayed both lavish expense as well as economy. There was no statue of the Commendatore, no carriage (or limo) for Donna Elvira, and only a gap in the set for the famous serenade, ‘Deh vieni a la finestra’ (which was beautifully sung). The perspex chair and table for the Don’s ‘dinner with death’ were hardly original and the folding garden chairs demonstrate the company’s commitment to recycling. Not one scene brought a vista of any beauty to the eye. Does somebody think that Mozart’s music is so beautiful that it needs to be balanced by unsightliness on stage?
There seemed no unifying idea to the production and little to commend it overall. There were frequent crude sexual references, some just a little smutty, others grossly “out there”, such as groping episodes and Donna Elvira being wheeled around the stage with legs wedged apart, seated on a small tray-mobile.
The singing was from adequate to splendid. The two baritones excelled, starting with Joshua Bloom as Leporello. He ‘rabbited’ his way through this glorious ‘gift’ of a role with humour and poise. His voice is large and focussed with a velvet timbre, smooth and even throughout the range.
Hungarian Mr Gabor Bretz looked and sounded the full Don. He acted creditably and has a pleasant, imposing voice. Apart from the baritone roles of Massetto, Leporello and Ruggiero (La Juive), I note that he has also sung the bass roles of Fiesco, Rocco and The Grand Inquisitor.
Catherine Carby played Donna Elvira well but may have been slightly uncomfortable on the highest notes. I do not know if she is a mezzo or a soprano now. ‘Mi tradi’ was taken at a cracking pace, almost too fast for the singer, composer and audience. But at least the aria was heard, unlike previous Sydney performances in which they left out both Dalla sua pace and Mi tradi for supposed ‘historical’ reasons. This production leaves out both Il mio tesoro and the epilogue. One wondered if Mr Henry Choo was unable or unwilling to sing the more difficult aria, although he sang Dalla sua pace quite liltingly. I am not aware of any performances of Don Giovanni (with the exception of Mozart’s first season) from which Il mio tesoro has been omitted. There would be a good legal case for a refund in my view as this was not ‘goods as advertised’.
Rachel Durkin was a reliable Donna Anna. There was some sharpness to her voice but she presented a dignified and consistent character.
Amy Wilkinson and Richard Anderson were a fine young wedding couple.
It was reported in the weekend press that conductor Richard Hickox withdrew ‘due to European commitments which were brought forward’ which did not make sense to me. This is a fault and is most disappointing in someone who aspires to be a serious musical director of a serious opera company. Nevertheless, we had young Russian/American conductor Mikhail Agrest who did agreeable things on the podium.
This opening night was an abysmal failure from my perspective. I would prefer to see a concert version of an opera than sit through this post-modernist Euro mish-mash.
Comments by Andrew Byrne ..
New York in 2008: http://ajbtravels.blogspot.com/
New York in 1922: http://bpresent.com/harry/code/10b_bowery.php
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Gala opening of new production by Elke Neidhardt, designs by Michael Scott-Mitchell. “Bathing machines are 'in', "Il mio tesoro" is out!”
Dear Colleagues,
During the overture we were confronted with a huge hanging digital sign flashing numerals from 4000 down towards zero along with images, strokes and hurdy gerdy effects interposed across the stage. Like much of what occurred later, there seemed no rhyme or reason to this neon wizardry.
We were then led through the evil, small-town narrative of Don Giovanni … on this occasion with no recognisable town, no villa, no balcony, no furnishings, no decor, no Spanish streetscape for Elvira to get lost in as well as for the Don to be chased through.
The set was dominated by ugly ‘floating’ black and white triangles bearing the enlarged images of burnt tree-trunks. They were manoeuvred awkwardly on hydraulic rams and might better have been simply suspended from the flies without all the fuss. Numerous other angular illuminated shapes appeared and disappeared to little purpose until some were spray-painted by the Don who turned his hand to graffiti, as if the libretto did not give him enough bad behaviour.
These triangles framed rows of black and grey ‘lavatories’ in various guises used as hidey holes, entrances and exits. It was not clear why the Don had to take a shower on stage in the middle of the action unless it was to draw attention to the director. The nudity warning was spurious and probably a publicity stunt as there was simply no nudity on stage … unless you count an indistinct image through frosted glass.
This ugly and unsympathetic production displayed both lavish expense as well as economy. There was no statue of the Commendatore, no carriage (or limo) for Donna Elvira, and only a gap in the set for the famous serenade, ‘Deh vieni a la finestra’ (which was beautifully sung). The perspex chair and table for the Don’s ‘dinner with death’ were hardly original and the folding garden chairs demonstrate the company’s commitment to recycling. Not one scene brought a vista of any beauty to the eye. Does somebody think that Mozart’s music is so beautiful that it needs to be balanced by unsightliness on stage?
There seemed no unifying idea to the production and little to commend it overall. There were frequent crude sexual references, some just a little smutty, others grossly “out there”, such as groping episodes and Donna Elvira being wheeled around the stage with legs wedged apart, seated on a small tray-mobile.
The singing was from adequate to splendid. The two baritones excelled, starting with Joshua Bloom as Leporello. He ‘rabbited’ his way through this glorious ‘gift’ of a role with humour and poise. His voice is large and focussed with a velvet timbre, smooth and even throughout the range.
Hungarian Mr Gabor Bretz looked and sounded the full Don. He acted creditably and has a pleasant, imposing voice. Apart from the baritone roles of Massetto, Leporello and Ruggiero (La Juive), I note that he has also sung the bass roles of Fiesco, Rocco and The Grand Inquisitor.
Catherine Carby played Donna Elvira well but may have been slightly uncomfortable on the highest notes. I do not know if she is a mezzo or a soprano now. ‘Mi tradi’ was taken at a cracking pace, almost too fast for the singer, composer and audience. But at least the aria was heard, unlike previous Sydney performances in which they left out both Dalla sua pace and Mi tradi for supposed ‘historical’ reasons. This production leaves out both Il mio tesoro and the epilogue. One wondered if Mr Henry Choo was unable or unwilling to sing the more difficult aria, although he sang Dalla sua pace quite liltingly. I am not aware of any performances of Don Giovanni (with the exception of Mozart’s first season) from which Il mio tesoro has been omitted. There would be a good legal case for a refund in my view as this was not ‘goods as advertised’.
Rachel Durkin was a reliable Donna Anna. There was some sharpness to her voice but she presented a dignified and consistent character.
Amy Wilkinson and Richard Anderson were a fine young wedding couple.
It was reported in the weekend press that conductor Richard Hickox withdrew ‘due to European commitments which were brought forward’ which did not make sense to me. This is a fault and is most disappointing in someone who aspires to be a serious musical director of a serious opera company. Nevertheless, we had young Russian/American conductor Mikhail Agrest who did agreeable things on the podium.
This opening night was an abysmal failure from my perspective. I would prefer to see a concert version of an opera than sit through this post-modernist Euro mish-mash.
Comments by Andrew Byrne ..
New York in 2008: http://ajbtravels.blogspot.com/
New York in 1922: http://bpresent.com/harry/code/10b_bowery.php
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
My Fair Lady - is this appropriate for an Opera Gala Opening?
My Fair Lady - Sydney Opera House 7.30pm Saturday 22nd June 2008. Gala Season Opening.
Despite being an artistic success, in some respects this was an acutely embarrassing event, sadly reflecting the current management's lack of commitment to opera, singers and their traditional audience. They continue to chase the theatrical dollar rather than respecting the art form their organisation is named for. Nobody minds some lighter pieces and the company does musicals and G&S as well as anyone. Yet this is an opera company and we paid for opera tickets and we deserve an opera for our season opening! It would be like going to the tennis and being told there would only be basketball playing! Enough of that.
Reg Livermore successfully played Henry Higgins, a character perhaps half his own age. I heard complaints that he sang too much while others said he sang too little, so he probably got the balance right! While no opera singer, his singing voice is quite pleasant, if a little nasal at times. His quip and quiddity on stage are superlative where he is the true professional. So too was his mother, Misses Higgins, played by another veteran, Nancye Hayes who was hilarious.
Eliza was Taryn Fiebig, a trained opera singer who, like everybody else, was seriously amplified. She played this ‘gift’ part beautifully including the accents. She was sensitive, vulnerable and yet self confident and independent by the end - with its ambiguous dénouement.
Colonel Pickering was played by Rhys McConnochie; Alfred Doolittle by Robert Grubb; Mrs Pearce by Adele Johnston. All the main and supporting roles were excellent. The chorus was also in fine form.
The production is original and engaging with a revolve to allow immediate scene changes. Clever detail allowed a glance at patrons inside the pub before it rotated further to become a street frontage where we heard some of the many pot-boilers of the score. The costumes were splendid, especially the Royal Ascot ladies in their grey, black and coral outfits with some extraordinary and enormous hats. Costumes by Roger Kirk, sets Richard Roberts, direction Stuart Maunder.
The two scenes in the Higgins residence in Wimpole Street were brilliantly created. We heard ‘The rain in Spain’ in the comfortable gentleman’s studio while the stunning entrance of the transformed Eliza (and her disappearance later on) occurred in an elegant entrance hall and stairway.
The orchestra played well under maestro Andrew Greene. The audience was appreciative and obligingly clapped along with the rum-tee-tum strains accompanying the curtain calls. The best performance, however, may have been the glorious full moon which rose 15 minutes before the show, clearly visible from the balcony, foyer and eastern walkways of the Opera House.
Comments by Andrew Byrne ..
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Despite being an artistic success, in some respects this was an acutely embarrassing event, sadly reflecting the current management's lack of commitment to opera, singers and their traditional audience. They continue to chase the theatrical dollar rather than respecting the art form their organisation is named for. Nobody minds some lighter pieces and the company does musicals and G&S as well as anyone. Yet this is an opera company and we paid for opera tickets and we deserve an opera for our season opening! It would be like going to the tennis and being told there would only be basketball playing! Enough of that.
Reg Livermore successfully played Henry Higgins, a character perhaps half his own age. I heard complaints that he sang too much while others said he sang too little, so he probably got the balance right! While no opera singer, his singing voice is quite pleasant, if a little nasal at times. His quip and quiddity on stage are superlative where he is the true professional. So too was his mother, Misses Higgins, played by another veteran, Nancye Hayes who was hilarious.
Eliza was Taryn Fiebig, a trained opera singer who, like everybody else, was seriously amplified. She played this ‘gift’ part beautifully including the accents. She was sensitive, vulnerable and yet self confident and independent by the end - with its ambiguous dénouement.
Colonel Pickering was played by Rhys McConnochie; Alfred Doolittle by Robert Grubb; Mrs Pearce by Adele Johnston. All the main and supporting roles were excellent. The chorus was also in fine form.
The production is original and engaging with a revolve to allow immediate scene changes. Clever detail allowed a glance at patrons inside the pub before it rotated further to become a street frontage where we heard some of the many pot-boilers of the score. The costumes were splendid, especially the Royal Ascot ladies in their grey, black and coral outfits with some extraordinary and enormous hats. Costumes by Roger Kirk, sets Richard Roberts, direction Stuart Maunder.
The two scenes in the Higgins residence in Wimpole Street were brilliantly created. We heard ‘The rain in Spain’ in the comfortable gentleman’s studio while the stunning entrance of the transformed Eliza (and her disappearance later on) occurred in an elegant entrance hall and stairway.
The orchestra played well under maestro Andrew Greene. The audience was appreciative and obligingly clapped along with the rum-tee-tum strains accompanying the curtain calls. The best performance, however, may have been the glorious full moon which rose 15 minutes before the show, clearly visible from the balcony, foyer and eastern walkways of the Opera House.
Comments by Andrew Byrne ..
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Salute to the life of John Cargher.
Mr John Cargher 1919-2008
Australia has lost a great musical ambassador with the death of John Cargher on Wednesday 30 April 2008 at his home in Melbourne aged 89. He was a self-taught expert and critic on voices, composers, opera and classical music generally. His 'Singers of Renown' has been a Saturday afternoon fixture on ABC Radio for forty two years. I listened avidly to his broadcasts whenever I could and they often raised discussions between family and friends.
I only knew John from his occasional outings to the opera in Sydney and from numerous email exchanges. Many in Melbourne knew John personally from his involvement in record stores and theatrical exploits from 1951 when he arrived from London. Yet it was his broadcasting which took his softly spoken European accent and his personality into homes across Australia and beyond. His father Jacob was a rabbinical student in London where John was born. He was raised in Germany and Spain due to the illness and early death of his German mother. John then returned to London as a teenager to learn a trade and also attend operas and concerts in cheap seats.
John’s choice of items was always novel as were his eclectic commentaries between them. Even many non-opera people know John's signature tune, the 'nostalgia' duet from Il Tabarro with Mario del Monaco and Renata Tebaldi. This glorious and previously obscure piece of soaring Puccini is now probably the most often broadcast opera excerpt in the world after more than 2000 programs. Dame Joan Hammond also popularised a famous aria from this Puccini Trittico masterpiece "Oh mio babino caro".
Even up to recent weeks John was still making his pre-recorded weekly broadcasts, despite some repeats due to illness. On the week of his death the ABC replayed a program from the 1990s featuring Verdi’s opera Ernani with excerpts from the 78 era to the present day. While personally favouring the great baritone arias, he played a vastly varied selection from the last castrato to strained falsettos and booming basses. My own favourite ‘oddities’ were the delightfully drunk soprano song, the famous pussy-cat duet "Miaou" and the tone-deaf Florence Foster Jenkins. He avoided the temptation to showcase Callas, Sutherland and Pavarotti who he played infrequently. Other century greats he played included Gigli, Tucker, Di Stefano, Schmit, Warren, dal Monti, Ponselle, Muzio and Caruso. His historical notes often included how the Second World War affected careers and lives of individuals. He often mentioned the cantorial tradition and occasionally mentioned his Jewish roots.
John Cargher wrote numerous books popularising classical music and he was made a member of the Order of Australia for his services to music and the theatre. His wry wit, profound knowledge and occasional exposed mistake will always be remembered by this listener. Rest in peace. May his passing inspire others to such heights. He leaves his second wife, Robyn Walton and daughter Penelope.
[Written by Sydney addictions physician and opera critic Andrew Byrne]
Australia has lost a great musical ambassador with the death of John Cargher on Wednesday 30 April 2008 at his home in Melbourne aged 89. He was a self-taught expert and critic on voices, composers, opera and classical music generally. His 'Singers of Renown' has been a Saturday afternoon fixture on ABC Radio for forty two years. I listened avidly to his broadcasts whenever I could and they often raised discussions between family and friends.
I only knew John from his occasional outings to the opera in Sydney and from numerous email exchanges. Many in Melbourne knew John personally from his involvement in record stores and theatrical exploits from 1951 when he arrived from London. Yet it was his broadcasting which took his softly spoken European accent and his personality into homes across Australia and beyond. His father Jacob was a rabbinical student in London where John was born. He was raised in Germany and Spain due to the illness and early death of his German mother. John then returned to London as a teenager to learn a trade and also attend operas and concerts in cheap seats.
John’s choice of items was always novel as were his eclectic commentaries between them. Even many non-opera people know John's signature tune, the 'nostalgia' duet from Il Tabarro with Mario del Monaco and Renata Tebaldi. This glorious and previously obscure piece of soaring Puccini is now probably the most often broadcast opera excerpt in the world after more than 2000 programs. Dame Joan Hammond also popularised a famous aria from this Puccini Trittico masterpiece "Oh mio babino caro".
Even up to recent weeks John was still making his pre-recorded weekly broadcasts, despite some repeats due to illness. On the week of his death the ABC replayed a program from the 1990s featuring Verdi’s opera Ernani with excerpts from the 78 era to the present day. While personally favouring the great baritone arias, he played a vastly varied selection from the last castrato to strained falsettos and booming basses. My own favourite ‘oddities’ were the delightfully drunk soprano song, the famous pussy-cat duet "Miaou" and the tone-deaf Florence Foster Jenkins. He avoided the temptation to showcase Callas, Sutherland and Pavarotti who he played infrequently. Other century greats he played included Gigli, Tucker, Di Stefano, Schmit, Warren, dal Monti, Ponselle, Muzio and Caruso. His historical notes often included how the Second World War affected careers and lives of individuals. He often mentioned the cantorial tradition and occasionally mentioned his Jewish roots.
John Cargher wrote numerous books popularising classical music and he was made a member of the Order of Australia for his services to music and the theatre. His wry wit, profound knowledge and occasional exposed mistake will always be remembered by this listener. Rest in peace. May his passing inspire others to such heights. He leaves his second wife, Robyn Walton and daughter Penelope.
[Written by Sydney addictions physician and opera critic Andrew Byrne]
