An impressive production of Handel’s
Theodora at Angel Place 6/12/16.
I was bowled over by the
whole operatic experience at Pinchgut Opera and would recommend it highly for
2017. Despite an open stage at the City
Recital Hall we saw a virtually fully staged version of this neglected gem
thanks to brilliant director Lindy Hume and maestro Erin Helyard.
The principal singers were
all of the highest calibre, supported by the 'Cantillation' chorus and Pinchgut
orchestra. It is always nice when one
can interact with the performers and at the Recital Hall one walks past the
musicians coming into the theatre. One
could not ignore the huge contrabassoon both physically (it seemed to be about
3 metres long) as well as its booming place in the complex score of this
baroque opera. I think I noted a wooden
flute too, reminding us why this brass instrument is still classified as a
‘woodwind’.
Theodora is a simple but
shocking story of early Christians in Roman Antioch during the pagan festival
of Venus and Juno. One young Roman
soldier converts to Christianity for love while another becomes very
sympathetic. The staunch and unrepentant
Christian is the beautiful young virgin of the title.
And Valda Wilson sang the
role superbly … with dignity and vocal aplomb, despite being condemned to work
in a brothel for her baptismal crime against the Roman gods.
We meet our protagonists
initially around a large raised table, brilliantly set as a modern boardroom
meeting. Following amusing domestic
preliminaries, the dignitaries are addressed by Valens, the Roman
bully-in-charge, well sung by basso Andrew Collis. The love-struck Didymis was played by
Christopher Lowrey, a counter-tenor with a most pleasing voice. I do not warm to many male sopranos (apart
from David Daniels, of course) yet here was beauty, style and flair in his
rendition of the fiendish vocal lines by Handel. Soldier Septimus was English tenor Ed Lyon
and Irene was played by sumptuous mezzo Caitlin Hulcup … both excellent
operatic voices and actors to wit.
The start of Act 2 was
another piece of theatrical originality being a drunken bacchanal which started
half way through the intermission. As we
came back into the hall the singers were already lurching around the stage one
by one, bantering with orchestra members, muttering, laughing and generally
making a stage-party by the time we were all seated. The drama then took us through all the
emotions as Theodora's paramour Didymis becomes her first customer, only to
swap clothes and attempt escape from the brothel.
It is telling that this venue
can be so intimate and user-friendly at just half the price per ticket as Opera
Australia which was concurrently engaged in a Ring series of operas in
Melbourne for the very select few who can afford the time, travel and enormous
ticket prices. One has an overwhelming
feeling of youth, vitality and professional enthusiasm at Pinchgut performances. This is quite the opposite of the national
opera company which has become so survival-conscious, negative and
pusillanimous in almost everything it does these days. And YES, I am very jaded that the Ring was
done again in Melbourne rather than Sydney (but spare me the reasons). However, hats off to the national company for
putting Greta Bradman into La Boheme next week.
Toi, toi, toi!
Get a brochure for Pinchgut
in 2017! And if you want to see serious international
quality opera in an opera house, go to San Francisco!
Notes by Andrew Byrne .. Wishing
all readers a happy and prosperous New Year for 2017.
