2009 Mary Bokey
SYDNEY… WAKE UP TO LA SONNAMBULA!
La Sonnambulas
Pacific Opera comes to Glen Street Theatre for the first time with La sonnambula, bringing a “heaven of love” to an opening night audience who simply could not contain its joy. Vincent Bellini’s opera written in 1831 has not been performed in Australia for over forty years, and now under the inspiring direction of Christine Douglas, Pacific Opera brings this wonderful opera back to the Australian stage in a fresh and invigorating way.
Set in a small town in Sicily in the 1960s, La sonnambula is given a delicious modern twist. The rustic café setting is sparsely furnished but flooded with the brilliant light and pastel colours of the Mediterranean. The costumes are authentic 1960s. The girls are playful in pretty frocks and the boys are perfectly comfortable being dorks. Onto this simply happy and innocent stage arrives the worldly Count on his black and silver Harley Davidson motorcycle… and so the trouble begins!
Amina the sleepwalking heroine and Elvino are perfectly in love. On the eve of their wedding Amina sleepwalks into the bedroom of the womanizing Count Rodolpho. He recognizes her vulnerability and chooses not to take advantage of her, however the jealous Lisa shames Amina by bringing the whole village to witness her asleep in the count’s bed. Elvino rejects Amina, resolves to marry the conniving Lisa and Amina is overwhelmed with sorrow and grief. Just in time Elvino recognises Amina’s innocence and they are reunited to communal joy and celebration.
Now, to the cast. Eva Kong’s soprano voice sails gloriously along the beautiful bel canto melodies, and her sincere yet subtle acting creates a truly beautiful heroine. In her sleepwalking state, her voice is spun to pure silk. Lead tenor Roy Best creates a tender romantic hero whose generous rich tones embrace the audience. The supporting cast is brilliant. Julia Malczewski is wickedly funny as love rival “Lisa” and the resonant bass voice of Adrian Tamburini, the Count, brings pure macho to the stage. The chorus is dynamic and harmonious each member achieving a unique character and personality. Their vitality and joy is infectious. The orchestra, conducted by Andrew Greene, provides a beautiful instrumental complement to the vocals of La sonnambula. The playful interaction between instrument and song is a sheer delight.
The performers of Pacific Opera are the up and coming talents of the Australian opera. As a young lover of opera, this production has inspired and enthralled me. Sydney, wake up to La Sonnambula!
By Mary Bokey
2008 Catherine Shepherd
OUT OF THE SHADOWS AND INTO THE SPOTLIGHT
Gods and Sinners
August 20 – 24 The Independent Theatre, 269 Miller St, North Sydney
Gods and Sinners by Pacific Opera, gives rarely performed Daphnis and Chloe by Offenbach and Gorgeous Galatea by Franz von Suppé, the chance to shine on the Australian stage.
Act One is Daphnis and Chloe, a bucolic romp filled with the mandatory quota of shepherds, nymphs and meddling gods. Not only is Adam Player (Daphnis) a fine baritone, but his bold characterisation, coupled with a complete understanding of the genre, make for a hilariously camp, and energetic performance. Rachel Cunningham (Chloe) is a lovely shepherdess, her voice suited to the frilly nature of this piece. David Hidden’s Pan is certainly not as his name may suggest, but is centre stage and brash, his voice rich, like a good shiraz.
Gorgeous Galatea in Act 2 is based on the Greek myth of artist Pygmalion. As Pygmalion, Julian Brun’s naturalistic style of acting and supple voice, (although at times overshadowed by the orchestra) suit the character. Bringing a great dynamic is arrogant Art Dealer Midas, played to perfection by Warren Fisher. His voice is all consuming and he swaggers like a pro. Mary-Jean O’Doherty (Galatea) is charming and her soprano soars through the beautiful coloratura. The only criticism, as was with Cunningham, is it’s hard to understand what they are singing, but with such a brutal language as English, one forgives them. Kathryn Turner as Ganymede (Pygmalion’s assistant) proves to be quite the comedienne and is vital in the success of this piece.
Direction by Christine Douglas is strong and focussed. Conductor Andrew Greene, does a splendid job with the orchestra, which is positioned on stage, a nice change from being buried in the pit. The other technical elements (sets and costumes by Kim Scott and lighting by Nicholas Higgins) are functional and economical, but with just enough whimsy to evoke a sense of fantasy. In Gods and Sinners, Pacific Opera has once again created opera that is accessible and enjoyable. It would be a sin to miss it.
By Catherine Shepherd
2007 Melissa Lesnie
CULTIVATING YOUNG TALENT
The Barber of Seville
Pacific Opera The Independent Theatre, North Sydney, 9–18 August Riverside Theatre, Parramatta, 27 August – 1 September
The staging of two concurrent productions of The Barber of Seville in Sydney this month attests to the enduring accessibility of Rossini’s comic masterpiece. But his tunes lend themselves so readily to absent-minded whistling that it is easy to forget about the vibrancy and colour of his orchestral writing, the agility demanded from the role of Rosina, and the palpable sense of fun and warmth a good performance will impart.
Under the direction of Christine Douglas, Pacific Opera delivers all this with an imaginative production set in modern-day Los Angeles and a cast of fresh-faced talent. The first scene draws us into an affluent Hollywood neighbourhood where Aussie celebrity Al Maviva (Martin Buckingham) woos the young American heiress Rosina. Buckingham’s robust tenor matches the quality of his acting; he is by turn earnest suitor, blundering incognito and suave superstar.
Figaro, feisty barber and go-between to the amorous couple, provides a witty counterpoint to Al Maviva’s antics. Here he is ‘pimped out’ in tight leather pants like a Rodeo Drive stylist and played to swaggering perfection by baritone Douglas McRae, who clearly relishes the spontaneity and self-assurance that are hallmarks of the role. I particularly enjoyed instances of dramatic contrast between the two male leads, from Al Maviva’s surprisingly intimate guitar serenade to Figaro’s lively signature aria, during which he shoved the conductor out of the way and waggled an imaginary baton at the bemused orchestra.
Confined to a Spanish-style mansion by her overbearing guardian Dr. Bartolo (James Roser), Rosina is portrayed as a sulking, cloistered teenager – with an unfortunate penchant for all things pink and fluffy – empowered by her beauty and by Al Maviva’s declaration of love. Soprano Maria Okunev is a superb comic actress: although her voice tends towards shrillness on those high Bs, the teasing rapport she develops with Figaro offers endless amusement.
With impressive economy of means, Pip Runciman’s costume and set design captures the gaudy materialism of the L.A. locale. Delectable kitsch details stick in the mind, from the marriage celebrant dressed as Elvis to a panoply of designer shopping bags strewn about Rosina’s room. Pacific Opera’s The Barber of Seville is a stylish production supported by emerging talent in both cast and chamber orchestra. My only complaint is an acoustic one: the diction in rapid vocal passages sometimes lacked clarity against a climactic orchestral backdrop. Sung in a playful English translation enlivened with doses of pop culture, this charming performance does much to reinvigorate familiar tunes. Pacific Opera is a dynamic company on the rise.
By Melissa Lesnie