A collection of reviews by Josephine Giles of the OPERA AUSTRALIA Melbourne Autumn and Spring Seasons, 2011.
Of Mice and Men, La traviata, Macbeth, La boheme
These reviews were originally published on AussieTheatre.com
OF MICE AND MEN, November 2011
John Steinbeck’s 1936 novella Of Mice and Men, as well as being a staple high-school reading text, has had numerous adaptations: two movies, two television versions, and even an off-Broadway musical. American composer Carlisle Floyd’s 1970 opera premiered in Sydney to critical acclaim earlier this year, and Melbourne audiences are lucky to see the same production hot off the presses, as it were.
Set in depression era America, Of Mice and Men is the story of two itinerant farm workers, Lennie and George who dream of one day owning their own small farm. George has promised to look after Lennie, a grown man with the mind of a child but the strength of a giant, who is fated to kill the things he most loves. They arrive to work on a ranch owned by Curly, but “the best laid plans of mice and men” go awry through the mindless actions of Curly’s frustrated wife.
Leading the cast is the superb American tenor Anthony Dean Griffey. Having already performed the role numerous times in international productions Griffey epitomises the tragic, pitiful character of Lennie Small with acting and stagecraft of a quality that we rarely get to see on the Australian opera stage. Griffey’s sweet lyric voice compliments the sensitivity of his characterisation, but has enough power to project effortlessly over the dense orchestration. In addition his diction is flawless (Australian singers, look and learn!), making it possible for the audience to ignore the surtitles and concentrate on the drama.
As the boss of the ranch, Australian tenor Bradley Daley also shines. His confident commitment to the text in no way diminishes the power of his ringing voice, which is perfect for the domineering Curly. Barry Ryan (George), Jud Arthur (Candy) and Luke Gabbedy (Slim) are all excellent, as is Jacqueline Mabardi as the neglected Wife.
Floyd’s libretto dispenses with much of Steinbeck’s dialogue, creating a sparse but emotionally powerful representation of the intrinsic dilemma of the characters. The score has a melodramatic quality that speaks strongly of 60’s movies and the unsubtle musical telegraphing of impending drama takes some getting used to. The intensity is broken up however with moments of light orchestration and even silence – a welcome quiet before the inevitable next storm. Orchestra Victoria play gloriously under the baton of Tom Woods, but as is often the case in the State Theatre, the words of many of the singers are lost when the music takes flight.
Director Bruce Beresford and designer John Stoddart have created a realistic representation of masculine farm culture, with settings that reinforce the bleakness of the depression era. Unfortunately the American accents of many of the principals are inconsistent, and but for Griffey and Daley, we could possibly be in Australia, However during the prolonged entr’actes we are firmly relocated in the US with the projection on a front screen of various Thomas Hart Benton paintings. Benton’s stylized representations of ranch life are a highlight of the show, and provide a welcome distraction from the thumping noises of the scene changes that they mask.
The final projection dispenses with Benton, and has instead a short movie of the pursuit of Lennie by George and the rest of the men. This hyper-realistic medium is incongruous with the imaginative space we’ve inhabited for two hours, plus the pursuit is through a forest and the next stage scene finds Lennie emerging from a corn-field. Lennie’s climactic scene is then marred by a clumsy entrance and exit of the posse – what a pity these last minutes let down what till then is a moving night of theatre.
LA TRAVIATA, November 2011
Perhaps going with the maxim “if it aint broke, don’t fix it” Opera Australia present yet another revival of Elijah Mojinsky’s 1994 production of La traviata. It is an attractive, solid version of Verdi’s most popular opera, and there is little to fault in this Melbourne production.
In 19th century Paris the courtesan Violetta, recovering from tuberculosis, throws a lavish party. Violetta, who is “under the protection” of the Baron Duphol, is introduced to an ardent admirer Alfredo, who convinces her to live a life of love rather than hedonism. She moves to the country with Alfredo, but their happiness is interrupted when Alfredo’s father Germont visits. Alfredo’s sister is unable to marry while he lives with a fallen woman: Germont convinces Violetta that she should leave the relationship, with tragic consequences.
For once, audiences have no reason to grumble about casting of the Melbourne season. The major principals are all top rung, lead by Russian soprano Elvira Fatykhova, who first performed the marathon-length role of Violetta for OA in Sydney in 2010.
Fatykhova’s vivacious but sensitive acting makes her a very believable Violetta. Her lyric voice is surprisingly powerful in its coloratura, with a bright attractive tone and a ringing top register that carries over the orchestra. Matching her with fine acting and clear delivery, is tenor Aldo Di Toro (Alfredo), whose hurt and anger is palpable at the end of Act II. Again, not have a big voice, but Di Toro uses what he has intelligently – from sweet piano to emphatic forte when required.
Michael Lewis, world-famous for his interpretations of Verdi baritone roles, gives a sympathetic portrayal of the patriarch Germont, and Dominica Matthews sparkles as Flora. The Opera Australia chorus, crowded on the small set, sing and dance with confidence; and Orchestra Victoria, under Marko Letonja, play with warmth and expression.
La traviata continues at the Arts centre until December 17, and will please opera stalwarts and newcomers alike.
MACBETH, May 2011
It is difficult to be madly positive or negative about Opera Australia’s latest production of “that Scottish Opera”. Despite excellent performances from all involved, I found the experience enervating to the extent I was relieved when the Birnam Wood finally arrived and I could go home to bed.
A co-production with the Opera de Montreal (first staged there in 2009), this Macbeth is solid, but uninspiring. The one-scene-fits-all design, which works well to streamline the numerous changes of scene, is initially interesting, but then dreary. In addition the variety of style of the costumes makes it difficult to know whether we are in Scotland or Italy, in the here and now or in the 19th century. The timeless and as relevant-as-ever theme of Shakespeare’s story, that of the ugliness and destructiveness of power-crazed individuals, is well enough served by the opera itself. I assume the costume design seeks to underline this universality of theme, but I found the confusion of references distracting.
Australia is blessed to have a baritone of the calibre of Michael Lewis. His mastery of the Verdi repertory continues here in his superb portrayal of Macbeth. Lewis poignantly captures the psychological demise of the character, and his warm voice lends considerable pathos to Verdi’s music.
As Lady Macbeth soprano Jacqueline Mabardi (replacing the advertised Elizabeth Connell) copes admirably with what is really a thankless task. Verdi apparently didn’t want Lady Macbeth to sound beautiful, writing the role: “should be almost totally declaimed”. This didn’t stop him from writing extended arias for the character that require the strength and range of a dramatic soprano along with the agility of a coloratura. Mabardi’s voice, whilst not always cutting through in the lower reaches, takes flight in her impressive upper register; and her fine acting, particularly in the dramatically powerful sleep-walking scene, gains import through her beautifully expressive face.
The third most important character in this opera is the chorus of witches. The women of the Opera Australia chorus quite clearly relish the opportunity to have a really good sing, and rise to the occasion splendidly. The blokes join the women for a multitude of other choruses as courtiers and peasants. Prepared to perfection by OA Chorus Master Michael Black, the chorus singing occasionally verges on shouting, but in general the chorus adds a much needed dynamism to this otherwise overly static production.
LA BOHEME, April 2011
I was looking forward to this production of La Boheme. With a new creative vision from world renowned director Gale Edwards, and introducing Melbourne audiences to the media hyped US soprano Takesha Meshe Kizart, it promised a special night at the opera. However its failings left me disappointed that OA continue to produce shows that fall well short of the excellence I expect from our flagship company.
Edwards transports Puccini’s Parisian bohemians to 1930s Berlin, the time of the final throes of the Weimar Republic. I remain unconvinced this adds to the drama, and if one hasn’t time to read the extensive explanatory program notes or press releases – i.e. most of the audience – the occasional “we are in 30s Germany” references, like storm troopers in Act III and a marching of band of blond clones invading the Cafe Momus, are confusing. The splendidly ornate Cafe Momus, meant to resemble a Spiegeltent, could just have easily been a Moulin Rouge type establishment, complete as it was with dancers with bare boobies.
With such attention going into the spectacle, the contrast with the poor direction of the singers was jarring.
Despite first rate singing, and committed acting, from the male principals – in particular the splendid tenor Ji-Min Park (Rodolfo) and Andrew Jones (Marcello) – pivotal scenes were devoid of dramatic truth. Musical highlights that should have had the hairs standing on the back of my neck were ruined by upstage business such as a strip-tease; the highly distracting posing by Schaunard (Shane Lawrence) during Mimi’s death scene; and it beats me why Marcello and Musetta needed to spin around on the revolve behind Rodolfo’s and Mimi’s big kiss-and-make-up scene.
Lack of strong direction also robbed Ji-Min Park and Kizart (Mimi) of any chance of stage chemistry. Kizart appeared uncomfortable on the night and, to my ears, struggled with the vocal demands of the role. But all sympathy to her for the sack of a dress, in a most unflattering shade of pink, that is her costume. As Musetta, lyric soprano Taryn Fiebig is a curious casting choice, but carries the role off with aplomb.
Whatever travesties a director may bring to this opera, Puccini’s music is still glorious. With his wealth of experience from top international opera houses, conductor Christian Badea clearly inspired Orchestra Victoria, who played with stirring lyricism and obvious enjoyment. As is often the case in this theatre, the orchestra occasionally overwhelms the singers. With such inconsistencies on stage, I took advantage of those moments to close my eyes, enjoy the music, and dream of Paris. And the perfect Boheme? I’m still waiting.
Carmen's Verandah 