Andrew's Opera was previously published at http://www.redfernclinic.com/

29 March, 2011

Queen of Spades at the Met. March 27 matinee

Tchaikovsky’s Queen of Spades also had its final season outing on my first Saturday in the city so the matinee saw Conductor Andris Nelsons along with Vladimir Galouzine, Peter Mattei, Karita Mattila, Dolora Zajick, Paul Plishka … causing something of Stendahl shock for opera-staved visitors. I took some time to come down to earth after the substantial Saturday pleasure.

Mr Galouzine sang with his usual forthright style but always with a reserve suitable to the nature of the character. Ms Mattila gave a fine interpretation, again with a slight reticence to the part.

Yeletesky’s Act II aria ‘Ya vas lyublyu’ received a deservedly rapturous ovation as Peter Mattei showed just how it is done. It was the high point of the performance for me, not that there was anything less than engaging in this often neglected Russian masterpiece. [Pique Dame aria on YouTube with Vladimir Chernov.]

The story revolves around a mere soldier falling for a highly place lady and assuming that finding fortune is the only way to facilitate the union. It involves alcohol, gambling and cheating, not a good trio for a happy marriage and fate has it that his world finally collapses in the last act when the winning formula of three, seven and Ace fails him on his third supposedly triumphant wager.

The entire production was set in a large shiny white picture frame architrave. From large ballroom scenes to lonely bedroom all was sympathetic to the book. An old video of this opera from the Met with Domingo has been shown on Australian television.

Brief and inadequate comments by Andrew Byrne ..

Romeo and Juliette at the Met. March 27 2011

Romeo and Juliette. Gounod. Sat 27th March 2011 at the Met.

An announcement craved our understanding for Mr Beczala who had a cold. As Romeo, one of the most difficult roles in opera, Mr Beczala was magnificent and the performance went ahead without a hitch. He looked the part and acted brilliantly in this very avant-garde ‘zodiac’ production. In a prologue and 5 acts he has to sing numerous arias and four love duets including much high tessitura and many exposed high notes. Beczala used style, control and beauty to accomplish his success.

No less impressive was his Juliette Hei-Kyung Hong who returns to the Met undiminished. She is able to do all the callisthenics required of the director … including a limp fall, sex scene on a small bed suspended high above the stage and more. Her initial ‘Waltz song’ was a tour-de-force indeed … but rather than simple joyous soliloquy she sang it to a mute but attentive Romeo, the as yet unknown object of her projected hapless happiness. The ‘party piece’ ended with a mutual limp fall, one of the few production details of questionable taste to my view, approaching slapstick.

Other parts were played by James Morris (cleric), Dwayne Croft (Capulet), Wendy White (Gertrude), Lucas Meachem (Mercutio), each more than competent Met artists. Placido Domingo conducted the Met orchestra to great and well deserved acclaim.

Each side of the stage was an Italian street scenes of arches, facades, architraves, etc in wood in-lay colours to match the flooring which was made of checkerboard squares of light and dark polished timber. The floor was marked out in both pictorial and nominal signs of the Zodiac in French. It also had a unique ‘revolve’ which was raked so as to initially be flat with the stage. On turning 180 degrees the large central circle became a metre above the stage at the front and a metre below it at the rear. This was used to great effect throughout the opera, but never to excess as so often happens when directors are given such stage devices.

Romeo and Juliette is replete with astronomical references - “Star-crossed lovers” is just the best known while a search turned up over a dozen including one reference to the phases of the moon. These astronomical/astrological aspects of the production made for an exceptional mise-en-scene for amateur star-gazers like me. Each tableau had three giant full circles, one at the rear, one of the floor and another, I presume, although I could only see the solar system “mobile”, high above the stage. The rear stage circular aperture had circumferential gradations plus a golden ball on a tangent, presumably representing a planet.

With much of the opera’s action taking place at night, the rear circle reflected the sky in all its guises starting with the milky way, followed by a spiral galaxy. Rather than the usual random star patterns one sees in Tosca and other operas, this production’s backdrop becomes a telescopic window onto the heavens. There was even gradual movement of the sky as anyone who has struggled with a toy telescope would know. Next we were presented with two cloudy intruders on the black which may have represented the Magellanic clouds (first seen by Magellan being near the Southern Cross and thus never visible from the northern hemisphere - but we put that down to artistic licence). These were followed by magnificent images of deep sky objects, planetary nebulae and other Messier objects, images of which may have even been from the Hubble telescope. In the next scene we saw an enormous full moon enlargement, replete with the Copernicus impact crater, its radiating lines, as well as a near-complete circular ‘sea’, possibly Mare Crisium.

At the start of Act III the stage had an electrified scrim in front of the action. This revealed the entire panoply of stars around the constellation Orion, the triplet stars of hunter’s belt (called ‘the saucepan’ in the southern hemisphere) with the night sky’s brightest star, Sirius in Canis Major, the dog constellation. Also clearly depicted were Gemini’s twin stars [sic], Hyades in Taurus (pink Aldebaran depicted correctly) and even (with the eye of faith) Pleiades (the “seven sisters”) beyond it. During the dual (NOT duel!) killings the rear projection became a black-centred eclipse which seemed appropriate. By the very last scene the rear circle contained an Escher-esque series of ‘stairways to nowhere’, paralleling a REAL giant paired stairway down which Romeo made his agonal entrance.

By chance and through unusually clear Manhattan skies I had noted Orion high above the Met as I crossed 65th Street (upside down from my usual point of view).

Comments by Andrew Byrne ..

13 March, 2011

Partenope Act I. Then I lost patience.

Partenope – Saturday 12th March 2011 Sydney Opera House.


George Frederick wrote this work knowing that it had a bizarre and unfathomable story line with many comic one-liners included. However, Handel also knew that since it was done in Italian and most of the London patrons were already inebriated before the show, the story would not matter as long as the orchestra strummed its bits and the castrato did the requisite numbers.

I have to confess that your correspondent has let you down on this occasion, being unable and unwilling to sit through more than the first act of this long and tedious show.

To me, the audience was more interesting than the opera … containing as guest of honour one of the great singers of the age, mezzo-soprano Cecilia Bartoli who was seated next to the artistic director Lyndon Terracini while Governor Marie Bashir sat with Adrian Collette. Further along the row was Leo Schofield. Aubrey Murphy was in the audience rather than playing his fiddle. Bronwyn Bishop is an obligatory fixture at opera openings. Robert Gay the opera savant was there with lots of other hopefuls.

There were over a hundred good seats unsold and there were also numerous opera company members, some VERY casually dressed in what must have been complimentary seats (nobody I know in the company could afford $300 for such seats). Empty seats on a Saturday opening night are not a good sign for a company intent on doing Wagner’s Ring operas (and in a single year by all reports!).

The opening set was splendid, being a surrealist curving white stairway leading to a full-width mezzanine which strangely was not used in the action of act one. Much of the drama in fact took place on the lower few stairs, stage left. This was almost in the wings as if it were designed for a larger theatre. And it was! This was a co-production with the English National Opera whose enormous stage it was designed for (see their set pictured below). It is not called the “Coliseum” for nothing: its stage is 17m wide versus 11-14m in Sydney.

The opera company has again broken with tradition by casting Kanan Breen in the part of Emilio. While Breen is a capable comprimario singer he struggles with Handel’s florid vocal lines and has trouble rising to the dramatic heights needed for a ferocious military adversary of the queen of Naples. That he was given a childish cellophane and elastic mask and a flash camera on stage does not deserve further comment.

Emma Matthews sang and acted flawlessly yet she was unsupported by her numerous suitors. Christopher Field as the obligatory Handel counter-tenor did not produce a beautiful sound: his feeble and cloying character is supposed to be dreary … so was his singing. Catherine Carby sang more than competently in her major aria in Act one … the act lasted an hour and had no particular musical or dramatic high points. Richard Alexander always sings well but it was asking too much for him to be the only true male operatic voice of the night. An opera without a baritone? Really? And no operatic tenor. And no chorus. And no ‘hit tune’. Handel did make it difficult and the only means to success would have been superlative showcase singing (it was not to be).

The conductor Christian Curnyn seemed to know what he was doing yet he had a strange habit of looking around to the left and into the auditorium as if there were some additional instruments or singers in the galleries. I spoke to two good friends the following day to learn that much of the audience left before the end. Poor Mr Breen was required to sing some enormously complex aria in Act 3 lying on his back with his legs in the air while the rest of the crew also struggled with the difficulties Handel’s vocal lines. Even some of the guests of honour departed early, or so I was told. What an embarrassment for a company which used to boast world-class opera! A DVD of the old Sydney Alcina has surfaced recently showing just one of these high points in stark contrast to the mish-mash presented today.

I was vexed to have missed Mahler’s seventh and Mendelssohn’s violin concerto in the next hall. There was nothing to entice me back for Acts 2 or 3 of the opera and I went to my favourite Thai in Macleay Street for their excellent prawns and ‘spicy drunken noodles with beef’. As an added bonus at the restaurant I ran into some friends who commiserated. Host Kham of Arun Thai brought us a first rate Bordeaux white wine which was, however, just too flinty for me … yet the others thought it was very fine drinking. Dessert of home-made coconut ice cream and rock melon with fresh mint was delicious. All highly recommended and a cure for a rotten night at the opera.

Comments by Andrew Byrne ..

Arun Thai Ph: 9326 9135 Address: 28 Macleay St, Potts Point, 2011 (opp Ikon Building). Worth a visit.

08 February, 2011

Barber of Seville at Sydney Opera House

The Barber of Seville - Sydney Opera House Fri 4th February 2011

Dear Readers,

This was another exciting and exhilarating opening night at the opera.

Velvet-voiced mezzo-soprano Domenica Matthews rose to the occasion to be as good as any Rosina I have heard. Her customised version of ‘Una voce poco fa’ was perfectly suited to her very considerable vocal range and agility. Her dramatic side also showed great craft skills of comedy and farce.

Henry Choo excelled himself as Count Almaviva, singing a creditable first act aria/chorus and ending with the optional high note (a top C, I think), sustained, strong and exciting, causing an instant ovation. Mr Choo has developed his talents over the years to a very great degree and is a credit to himself and the company.

Newly ‘discovered’ Italian baritone Giorgio Caoduro is certainly an impressive young opera singer with a handsome, large and ‘natural’ baritone voice, dramatic flair and presence. He did not outshine the locals but may have raised the standard by his much promised involvement. Like the other characters, Caoduro was given gags aplenty in this hilarious production. It was nice to see the company responding to popular demand and good taste by returning to the brilliant Moshinsky/Yeargan production set in an Edwardian doctor’s surgery/residence. There was full-length leadlight, electric door bell, floral wall paper, illuminated cocktail cabinet, 78 rpm records, upright piano and even a Charleston dance scene.

Warwick Fyfe sang a most credible Bartolo, managing the almost unsingable patter piece berating his ward’s misbehaviour. The company’s regular basso Jud Arthur has done what might be his best role to date as Don Basilio the music master and wayward cleric. His ‘La calunnia’ was a sustained vocal progression accompanied by stage effects, hissing, thunder, lightning, etc which all set off the sinister plan of slander which was described so well by Shakespeare*.

Even with this cast of substantial opera stars possibly the most memorable character was the white-coated surgical dresser Ambroglio played by Christopher Hillier. His black sunken eyes, morbid gait and dead-pan expression made the lady sitting beside me break-up into laughter several times.

Even the relatively small part of Berta played by Teresa La Rocca was marvellous, giving us a drunken maid’s vocal escapade ending on a stratospheric high note!! With all this high-class opera on show it would seem churlish to comment on the absence of ‘Cessa di piu non resistere’ - an optional extra which is hardly ever performed (see my review of Lawrence Brownlee at the Met last March - link to 2010 reviews).

The orchestra under Maestro Antony Walker was supplemented with keyboards in the pit. Beginning with a masterful rendition of the popular overture, the playing was superlative with this opera’s tuneful cadences, often on woodwinds moving from bassoon through the range to piccolos in rapid succession and back again. All in all a highly enjoyable night at the opera. A friend commented that the most attractive feature of the evening was the vivacity on stage, both vocal and dramatic. He felt that with such rich vocalising coming across the footlights encouraged the audience to engage with the characters and plot, in turn adding further to the energy on stage. Not a bad summation to my mind.

There were many dignitaries present. I was told that the King of Tonga was attending. Much loved and esteemed Governor Marie Bashir led the official party. Nearly all of the expensive seats were sold out which is gratifying (there had been gridlock and many arrived late). For those worried about ticket prices there are still some reasonable seats on the sides with restricted views for between $44 and $67. The rear 4 seats in loges Y and B are highly recommended by this opera goer.


Written by Andrew Byrne ..

* On slander or defamation: “Good name in man and woman is the immediate jewel of their souls. Who steals my purse steals trash; 'tis something, nothing; 'Twas mine, 'tis his, and has been slave to thousands. But he that filches from me my good name robs me of that which not enriches him and makes me poor indeed.”

Shakespeare’s Othello, Act 3, Scene 3

18 January, 2011

Brilliant Carmen opening at the Sydney Opera House

Carmen. Sydney Opera House. Saturday 15th January 2011

The opera company has pulled it out of the bag again with a highly satisfactory reprise of Carmen in the production by Francesca Zambello. Not one but four international artists were engaged, headed by Israeli mezzo Rinat Sharham who sang a most creditable gypsy. Tenor Richard Troxell was Pinkerton in the famous 1995 movie and also makes a very fine Don José. Teddy Tahu Rhodes played the Toreador to a tee. The other minor roles were all up to scratch, and even Lillas Pastia was well cast, running as he/she does the tavern of Act II on the outskirts of Seville. Nicole Car as Micaela was the only local in a leading role and she was excellent, being, I was told, amongst the youngest on the stage at 24.

Maestro Guillaume Tourniaire bounced, danced, bobbed and leapt on the podium, arms swinging up to two metres at times, two centimetres at others. I cannot imagine that such animation could possibly induce the orchestra members to respond any more sympathetically. Indeed, the exhausting routine could have been a distraction. The overture was the fastest I have ever heard - at least initially - and I have heard some fast Carmen overtures in my time. Yet he took some passages more tenderly and seemed sympathetic to the piece overall despite the calisthenics.

Orchestra and chorus were up to their usual high standard and the hall was packed out.

This original production was given in 2008 with Richard Hickox conducting and his wife doing the title role. However, there were animals which for some reason were all left out of this current production. The first scene had a mule and chickens on stage while Escamillo arrived on horseback. A most memorable moment was that beautiful black horse taking a ‘bow’ at the end.

Comments by Andrew Byrne ..

14 January, 2011

Madama Butterfly. Sydney Opera House. Friday 7th January

Madama Butterfly. Sydney Opera House. 7.30pm Friday 7th January 2011

Dear Readers,

This was an auspicious opening night repeating the same successful gala two years ago. An even higher standard was achieved with the welcomed return of American soprano Patricia Racette who we heard in Faust ten years ago. She sang and acted the part of Cio-cio-san superlatively, providing some her own interpretations. On two occasions to my ear this just went into a vocal limbo zone, showing perhaps that she made the right decision to omit the optional D flat at the end of Butterfly’s entrance. She received a justly deserved standing ovation from the premium seating area.

Tenor Mr La Spina sang the ‘cad’ role of Pinkerton with style and was even booed (slightly) at the end, as is traditional. It is a shame that he was not permitted to remain in his smart US Navy jacket for Act one as his imposing physique is not given to a bib-and-brace white pantaloon outfit.

As the American consul one-time tenor Barry Ryan showed that he has developed a substantial baritone voice which equalled and at times even dominated the tenor who he was counselling ‘diplomatically’ in Act 1. This moved to consoling and even condemning his countryman by the end of the opera.

The performance was billed to be conducted by Phillippe Auguin but for some unexplained reason Massimo Zanetti is on the podium until 28th Jan when Tom Woods takes over (and Ms Racette is replaced by Antoinette Halloran). The orchestra under Maestro Zanetti was excellent and received a huge ovation. We are fortunate also to have the chorus of the national company which is well schooled under chorus master Michael Black.

It was gratifying to see a full house and let’s hope this bodes well for the rest of this season in contrast to previous ones. I can recall very few full houses at the Sydney Opera House since Sutherland’s farewell 1990. The price of a good seat can nudge $300 now and the average seat is significantly more expensive than at the Met in New York. Cinema presentations may seem like competition but they are also a useful recruiting ground.

While this 'high-octane' production and would be ideal for any new opera goer, even Madama Butterfly can suffer from over-exposure. The company will have done 40 performances in barely two years! I don't think I need to see Madama Butterfly again for some time … and when I do I would prefer a more traditional production.

Comments by Andrew Byrne ..

24 November, 2010

Joan Sutherland Memorial Service, Sydney Opera House.





Joan Sutherland memorial concert. Sydney Opera House Concert Hall. 10.30am Tuesday 12 November 2010

This was a moving and appropriate tribute to our departed diva. The speeches were all genuine and heart-felt - from Julia Gillard, Adam Bonynge, Moffatt Oxenbould and Marie Bashir. The host was Adrian Collette of Opera Australia.

In the assembled chorus I recognised Ken Collins, Joan Carden, Anson Austin, Don Shanks, Bob Gard, Paul Ferris, Ros Illing, Henri Wilden, Jennifer McGregor, Amelia Farrugia and numerous familiar faces who may have been former chorus ladies and gents (the company has now largely relocated for the Melbourne season). Bob Allman, Malcolm Donnelly and Cheryl Barker were in the audience. I also noted Elizabeth Allen, long serving chorus member, now retired, who was an old school friend of Joan Sutherland. There would have been others who I have forgotten and numerous people who I did not spy with my little eye.

The service was broadcast on national television and radio. The sound quality of Bell song and Parigi o Cara were top notch but then something happened and the system seemed to be below par for the Mad Scene and Borgia finale. I thought it was a little odd that they chose Va Pensiero from Nabucco, an opera Sutherland (wisely) never sang in.

Unfortunately Maestro Richard Bonynge was unable to attend, having been conducting ballet in Cuba. His son Adam spoke eloquently on his father's behalf. Richard Bonynge was the most important person in Joan Sutherland’s life.

While there were no titles for the Concert Hall projections, I was pleased to see that the broadcast did include sub-titles for the clips of Sutherland’s singing. This is so very important for the novice … as well as some of us more seasoned folk I suspect.

Rest in peace, dear Joan.

Comments by Andrew Byrne ..

03 November, 2010

Vale Joan Sutherland.

Joan Sutherland RIP.

Yes, what days they were. Sydney was privileged to hear Sutherland’s middle and late career with a (then) good quality opera company. We also heard her great career retirement extravaganza which was the full-fledged French grand opera, Les Huguenots or the ‘night of seven stars’. Few provincial opera companies then or now would be able to muster such talents as Grant, Johnston, Austin, Pringle, Wegener, Thane, Sutherland. It was one of the saddest night of my life - of course I was just sorry for myself!

From about 1975 to 1990 I recall each year opening the new season’s brochure and being excited to read what opera(s) Sutherland and Bonynge would be doing next and who would sing with them. While the latter were not always as great, they were mostly superior singers to the standard we hear today at the Sydney Opera House. And each rose to the very substantial occasion, giving us all world class goose bumps year after year. I think that Lucrezia Borgia was her best, but comparisons may be odious. She did two seasons of it if I recall correctly. I have been listening to the YouTube video of the finale aria – a true coup-de-force to end an opera!

During those years we also heard Il Trovatore, Suor Angelica, Der Fledermaus, Lakme, Merry Widow, La Traviata, Otello, Tales of Hoffman, Lucia di Lammamoor, Norma, I Puritani, Semiramide, I Masnadieri, Huguenots, Dialogue of the Carmelites and Idomeneo (only the last two were disappointments for me - but I have very narrow opera tastes). The Lucia, Norma and Traviata were indeed immortal performances. She also did a Rigoletto in the Domain one year: I was in raptures.

It is hard to convey to a younger generation just what it meant when it was a ‘Sutherland night’ at the theatre. As well as the soprano, there were higher ‘gears’ for just about everybody in the place from the bar staff to the orchestra … not to mention that amazing buzz amongst the audience, some of whose members might have even heard Nellie Melba (albeit also past HER prime).

I recall that each year when La Stupenda commenced singing we may have wondered if she was still up to it. There was often a wobble and flutter and even some flat sounds. She definitely took some time to warm up but by the end of the initial recitative or aria she would launch into the most miraculous high-performance and unique vocal delivery for the remainder. It was no longer a “tsunami” of sound, just a large, moving, dancing vocalism which dazzled through every range of emotion, rhythm and texture. We shall not see or hear the likes again.

RIP big Joan.

Comment by Andrew Byrne ..

Old story on La Stupenda.

JOAN SUTHERLAND - A PHYSIQUE TO MATCH THE VOICE OF THE CENTURY!
by Andrew Byrne (1994)

The aspirations of a nation were epitomised for two generations by the singing career of Joan Sutherland. Her consistent high artistic standards and dependability are rare in the history of opera and may be due in no small way to her staunch Scottish Australian upbringing in Sydney during the depression years.

Sutherland rarely cancelled due to illness. Many years ago, an Australian doctor who happily advised against tonsillectomy, commented on the perfection of her vocal cords. She suffered throat and sinus infections in the 1950s said to be due to London smog. Regular antral lavages were done by ENT consultant Mr Ivor Griffiths. After her first Glyndebourne season, she was advised to have her teeth capped. This she describes as a long, painful series of treatments. In the 1960s, she was stricken with backache which the headlines exaggerated to 'SOPRANO PARALYSED!'.

Although always a big woman, she basically has a 'solid constitution'. She attempted weight reduction on occasions. On her yearly tours of Australia in the 1980s rumours often arose that Sutherland had influenza. These were confirmed by all who heard her speak, but when she sang, as she nearly always did, only her most exacting fans could tell that she was below par. I recall on one such night overhearing her say "Gooty gooty gubdrops!" when told that it was another full house. Despite her obvious rhinitis, she sang the evil heroine Lucrezia Borgia to an appreciative audience.

Only once in sixteen years did she cancel a performance at the Sydney Opera House. The final performances of Norma were taken over by a very competent local understudy when the diseased diva declined. She was once let down by a union dispute in Melbourne, and on another occasion, she sang La Traviata at 12 hours notice due to the sickness of several colleagues in Mozart's Idomeneo.

Having gone to London in 1951 aged 25 to study singing, she was assigned progressively more demanding dramatic rôles until dazzling the opera world with her Lucia di Lammermoor by Donizetti at Covent Garden in 1959. She was suddenly in demand all over the world. A wise contract at this period took her over the English Channel to record a bracket of opera scenes with Nello Santi conducting the Paris Conservatoire Orchestra. Although she has made many fine recordings, some believe this accessional piece to be her most outstanding legacy. It featured the fountain aria from act one as well as the celebrated mad scene from Lucia. It also contained three rarely performed works brought from obscurity by earlier 'microgroove' recordings of the great Maria Callas who shared some repertoire, but little else with Joan Sutherland. The full recording session is now available on budget CD and displays pure crystal coloratura.

Sutherland next performed Verdi's La Traviata to great acclaim. Bellini's Norma was another of her great triumphs. With Bonynge's encouragement, she embraced the lesser known Bellini operas in turn: La Sonnambula, Beatrice di Tenda and I Puritani. Her Lucia was heard in many great opera houses including Milan, Amsterdam, Vienna, Palermo, Barcelona, New York and Buenos Aires. Everywhere but Australia.

The year 1965 saw a grand return tour to all the Australian capitals with the greatest opera season since the Melba-Williamson days of 1930. They brought the unknown tenor Luciano Pavarotti whom Bonynge had auditioned for the tour. The company sang Rigoletto, Lucia, Semiramide, Faust, La Sonnambula and La Traviata, all to great acclaim.

The couple did not return again until 1974 with Offenbach's Tales of Hoffmann in Sydney, a sell-out recital in Melbourne and an Australia-wide broadcast. This saw the beginning of annual tours of this country and setting up of home in Australia where son, Adam, his English wife and young family had also settled. For a further sixteen years she sang regularly with The Australian Opera and performed recitals in Perth, Brisbane, Adelaide and New Zealand while continuing a busy international schedule.

The presence of Sutherland and Bonynge in Australian musical life has been a catalyst for others artists to achieve greater artistic heights. Usually with Bonynge conducting, Sutherland performed a variety of works in Melbourne, Sydney, Adelaide and Brisbane in the theatre, concert hall and even the open air park's concerts. These ranged from The Merry Widow to Verdi's Otello and Rigoletto, modern French repertoire with Poulenc's The Dialogue of the Carmelite's, Puccini's Suor Angelica, Donizetti's Lucrezia Borgia and Lucia di Lammermoor, always her pièce de résistance.

She continued creating new rôles and recordings until the late 1980s, her last great new rôle being Anne Boleyn by Donizetti. This rare work contains the first ever 'mad scene', concluding with Sutherland's trade-mark: a spectacular vocal display and final high note soaring above the combined sounds of the chorus and orchestra.

Like her debut performance in Lucia over thirty years earlier, her final operatic stage appearance created a sensation. Les Huguenots has seven starring rôles which allowed the maximum number of her colleagues to share the stage for this most memorable season. On the final night, she sang to a theatre full of devoted fans, some of whom had waited all night for the few cheap seats available in the Sydney Opera House. At the final curtain, the audience gave a tumultuous reception and the company put on a fireworks display inside the theatre all of which was broadcast across the world. An era ended with a simple encore of Bonynge accompanying Sutherland in Home Sweet Home.

Sutherland's remarkable career has lessons for us all. She schooled her god-given gift, developing it to the unique instrument that has brought such pleasure for so long. Although having her share of illness and personal problems, she triumphed over adversity, as ever in the theatre, the show must go on!

Written in 1994. Dr Andrew Byrne is a general practitioner in Redfern, NSW.



References
Pleasants H; The Great Singers. Gollancz Ltd, 1967.
Anderson J; Dictionary of Opera and Operetta. Bloomsbury 1989.
Oxenbould, M; Joan Sutherland - A tribute. Honeysett Publications, 1989.
Major, N; Joan Sutherland. Queen Anne Press, 1987.

28 October, 2010

Das Rheingold live from the Met (delayed in Australia and Japan). Eurotrash is OUT, Lepage is IN.

Richard Wagner – First Ring Opera in new ‘cycle’ directed by Robert Lepage at the Metropolitan Opera, New York. Telecast third performance early October 2010, shown in Australasia Sunday 24th October.


This Rheingold Met telecast shown at cinemas around the world was glorious vocally and spectacular visually. I would recommend it to anyone, especially the Wagner neophyte. With subtitles, an excellent cast and coherent staging, this is a user-friendly, 21st century extravaganza without a ‘dead patch’ in it. The 2½ hours flashed by in what seemed like minutes. Apparently the Met demanded a concept which was novel, yet which followed Wagner’s instructions.

To do this, the stage settings are all provided by a 40 tonne machine with 24 rotating ‘gang planks’. These can form a vertical, horizontal, angled surface or even a series of lateral steps going almost the full width of the Metropolitan stage. By some clever device they can also be illuminated with any colour, texture or shimmering effect. Bubbles going up, river stones rolling down … marble effects, nothing is too difficult for the ‘machine’. The initial effect was of the Rhine river bank at dawn with an almost imperceptible wave motion as the introductory music led into the Rhine Maidens who were apparently (and actually) floating in mid-air (or mid-water).

A narrow trench in front of the palisaded planks served for Alberich’s arrival and Erda’s appearance. It may also provide a home for Norns, a launching pad for Walkiries and possibly a dragon lair, etcetera, in the later operas. The final exit of the gods to Valhalla took them through centre-stage between what looked like technicolour hologram stripes to walk seemingly vertically half way up the stage and then to level out towards the out of sight sky-castle in the sunset. A rainbow passed behind while a scheming and yet quizzical Loge looked on as the curtain finally came down to thunderous applause [Loge got booed for some reason in his curtain call]. This applause came from both the live audience at the Met as well as appreciative cinema attendees.

Bryn Terfel did a fine job of Wotan. He did not tire. His portrayal of the vacillating wanderer god was consistent and strong. His weaknesses were also well exposed. Stephanie Blythe as Fricka the goddess of marriage (and ‘Mrs Wotan’) was magnificent. Her enormous velvety voice pervaded the whole opera with an emotional and romantic side to a story which when it is all said and done is basically about imminent foreclosure on a sub-prime castle mortgage, bail-outs and penalty clauses. If the piece were classified by a criminal lawyer we would start with sexual harassment followed by breach of promise and then grand larceny as the gold is stolen under the eyes of the ‘nice but naughty’ Rhine Maidens. The litany goes downhill from there, ending in ‘possession is nine tenths of the law’ as Valhalla is occupied by its immortal miscreants.

By the end of Rhinegold, and all due the possession of the ring, there has been one murder, a kidnapping and a ransom demand. The philosopher might observe Lord Acton’s thesis exemplified here, or at least some of it, as power and money corrupt so very totally. Yet the good Lord was wrong about one thing at least: beautiful things don’t always make money (vide Wagner whose works are more likely to bankrupt an opera company than make money for it! The Met may be the exception.).

The male star of the night for me was Eric Owens as Alberich. An imposing African-American man with a glorious rich baritone voice, he reigned dramatically and vocally through numerous scenes in the opera. His most challenging portrayal was perhaps after he was turned into a frog and had to face capture in a terrine and then humiliation in front of his slaves, having been lord of the world (or underworld). At this point in her humorous spoof on the Ring, Anna Russell said: “I am not making this up, you know!”

Other supporting soloists were Wendy Bryn Harmer as Freia, Patricia Bardon as Erda, Richard Croft as Loge, Dwayne Croft as Donner, Franz-Josef Selig as Fasolt and Hans-Peter Konig as Fafner. Each was chosen for being an exemplary Wagnerian - and none disappointed. Froh was played by a tall, handsome young American, Adam Diegel who has a natural and almost perfectly produced tenor voice. Lengthy close-up camera encounters were not so kind for all of the others who, while all perfectly suited to Wagner, were not necessarily headlines for Hollywood.

In contrast to the Tardis-like timeless settings, the costumes by Francois St-Aubin were traditional theatrical ‘dress-up’ with even a shade of fantasy-land which is not inappropriate. The giants had enormous deltoid padding as in a school play and Wotan had a big plastic breast plate. Erda was in black and white while others had lavish amounts of rich fabrics and adornments in no particular earthly tradition.

James Levine and his orchestra were exemplary, taking the piece at a measured pace and never dominating the vocal side. I was disappointed that we did not have more shots of the orchestra … some of the long stretches of stage close-ups detracted from the telecast as one sometimes could lose track of what was happening on the stage as a whole, something which cannot happen in the live theatre.

Robert Lepage and his team have indeed succeeded in transforming this epic work into a new and enjoyable production for their Manhattan audience. It is a privilege to be able to join the Rhine journey in cinemas across the world.


Comments by Andrew Byrne ..

Link to Met site:

28 September, 2010

Rigoletto falls flat in Sydney. Inaudible “maledizione”! Ossia ‘The silent curse’.

Rigoletto - Sydney Opera House Sat 18th September 2010 7.30pm

Despite the hype, this opera performance was disappointing. The veteran English baritone who was to sing the title role got sick during the dress rehearsal on Thursday and was replaced by Warwick Fyfe who did a fine job according my informant as well as a company insider who confirmed it. The Englishman went on for the opening night even though it was clear he was still sick. So obviously weak was his singing in the first act that an announcement was made after the interval. But rather than pulling out, Mr Opie ‘consented to continue’ but ‘craved our indulgence’, going on to murder the role and dent his fine reputation.

Verdi’s great genius made Rigoletto a ‘gift’ to the baritone, tenor, soprano and two basses. But in this performance hardly anyone on the stage excelled. Despite her unique talents and deserved popularity, Emma Matthews is just not quite right for Gilda ... not enough ‘heft’ in my view. And her particular talent with high coloratura was not used for some reason. I suspect the conductor may have banned her from doing anything that was not in the score, something I disagree with. She omitted the high note from the end of the quartet. She did not do the Roberta Peters ending of Caro nome (which I have never heard live, but which Ms Matthews could have done superbly). There are numerous variations used to end Caro nome by the many famous sopranos who have recorded it.

So would new tenor Paul O’Neill do HIS high note at the end of the cabaletta to ‘Ella mi fu rapita’? No, unfortunately not! It is rarely done, but when it is, it is electric. And while we are at it, he also faked some notes in ‘La donna e mobile’. The same note in each verse. While it sounded like a mistake the first time, twice proves he just could not sing it. So why was he given the role? It is one of the toughest in all the repertoire but that is part of the reason the opera is so popular and successful. Dramatically he was fine, but there is a drama theatre downstairs!

Sparafucile was played by David Parkin who had won a television singing contest and is one of that rare breed who could be advised to quit his day job. He was excellent and sang his final Act I note well into the wings. Such praise was not due his professional colleague playing Monterone. Gennadi Dubinsky has an unprepossessing voice. The powdery quality of his upper register contrasts with his lower notes which are simply not there. This small but important role shows off none of his good qualities and emphasised his failings. This is not a part for a comprimario. He could only have been cast in this role by a computer program as any live audition would have determined his inability to sing the notes adequately.

Now for the title role. Mr Alan Opie has been singing for 40 years and whether he is just passed his prime or simply sick, I do not know. He left out a few notes in the second scene and did not seem to have any volume to his otherwise handsome baritone voice. After the interval announcement by Artistic Director Lyndon Terracini matters improved briefly only to fall apart again in the last act. His ‘Cortigiani, vil razza’ was commendable considering his condition. However, the story of this opera hinges on a father’s curse or ‘maledizione’ and Rigoletto’s repeated plaintive exclamation of this word needs to be vocally thunderous. Mr Opie’s first two were weak and the final tragic bereaved cry of the father which should bring a chilling vocal end to the opera was simply inaudible. It was either omitted or else sung an octave lower. [And just occasionally that ending can be sung with a falling grace note by a capable baritone to phenomenal effect following the dramatic death of his daughter on stage.] The overall performance was a great let-down.

The orchestra and chorus performed in an exemplary manner. Even the soft brass sections came off perfectly while the tempi were slow and challenging with brilliant effect. The conductor Giovanni Reggioli received a huge and well deserved ovation. The chorus performed well in this up-dated mid-20th century version.

A web site states that Mr Opie has been ‘a fulcrum for Chandos records’, he is 65 years old and that he was a long-time company member at the English National Opera. It is hard to understand why he is currently guest artist here when there are so many Australian artists of equivalent calibre. There are also dozens of more qualified overseas ‘star’ artists in their prime who could raise the standard of the company by their presence. In a past generation we heard Peter Glossop, Sherrill Milnes, James Morris and Donald McIntyre on this stage. Brian Asawa, Luciano Pavarotti, Eva Marton, Sumi Jo and Kiri Te Kanawa are just a few of other international names seen with this company. Yet the management and board seem to believe that ‘stars are an unnecessary expense’ and that the audience would not know the difference. A company member actually told me that the focus groups they organised found just that. So the management seems happy to put on ordinary opera to half empty houses when we used to be able to fill the house even mid-week. There were about 200 empty seats on this Saturday night with dozens of people on free ‘grey’ tickets (whatever they are) including two sitting beside me. They even have a separate private ticket booth advertising ‘complimentary tickets’. I wonder how one gets one of those?

If my memory is correct, the last English baritone to sing this role in Sydney was Peter Glossop. He was the only English baritone in history to sing Verdi’s great tragic roles at La Scala, Milan according to Wikipedia.

I note from the season manifesto that there is more than one day’s break between each performance of Mr Opie, singing the first six performances in 20 days. However, when Warwick Fyfe takes over the title role from 21st October, the cast sings six performances in 15 days, breaking the ‘two day’ rule three times. I imagine that one of the reasons Mr Opie has been singing opera for 40 years is that he follows a few well established rules - including rest days. The management shows contempt for its own artists by forcing them to sing more often than is usual or safe, risking their voices and possibly shortening their careers. As others have workplace rules, such as noise exposure in the pit, OHS elsewhere, so it is high time to stop exploiting opera singers in this way by insensitive or incompetent employers. Singers and their agents may also have some responsibility to resist these unreasonable demands of management trying to make up for patent failings.

Comments by Andrew Byrne ..

27 August, 2010

La Sonnambula - Richard Bonynge's final performance in Australia (?).

La Sonnambula Tues 24th August 2010 (final season performance).

A pessimist might say this was the last vestige of the ‘golden age’ of opera in Australia.  Whatever one’s predictions for the federal election outcome or other less important games of chance, this evening marked the final scheduled Australian performance for Australia’s greatest living conductor [Charles Mackerras, the only other contender, died just a few weeks ago]. 

Richard Bonynge’s exemplary career has spanned four decades with the company.  This rarely performed Bellini masterpiece was last done professionally in Australia in 1965 to my best knowledge (also under Bonynge’s baton).  Its rarity is because it is ‘tough’.  Tough casting, tough settings - it could easily made to look trite dramatically and ‘chocolate box’ scenically in its Helvetian alpine location.  Most of all, of course, it has tough tessitura - two sopranos, one tenor and a bass baritone need to be of the highest order.  

Yet the evening went by without a hitch in a charming new production.  Emma Matthews is the star of the night - and despite being overworked by the company’s punishing roster, her voice sounded fresh and light with a dazzling top register.  This she uses with style and taste, only occasionally moving into the ‘showy’ category.  Her penultimate phenomenal sustained F with orchestra and chorus was indeed over-the-top.  In Act I, ‘Come per me sereno … Sovra’il sen la man mi posa’ set a high standard indeed.  This was well matched by Stephen Bennett in his haunting ‘Vi ravisso’ with slightly ornamented second verse cabaletta.  One wonders if it was intentional to make him look like Basel Fawlty in Act II. Ms Gore also did some extraordinary things with her extended upper register, especially in her bridal aria in Act II.  From the opening lines her ‘Lisa’ plays Amina’s rival for Elvino’s affections. 

Mr Di Toro was the ‘weak’ link, if there was one, yet he was anything but weak.  He has a habit of singing some phrases and notes pianissimo, broadening into a full voice forte and retreating again, something like a waxing and waning radio which is off-station or during a storm.  This may be a return to a classical style of singing but was unfamiliar to me.  At times he rose to greatness, especially in Act II.  He was never inadequate.  Of course we are inevitably comparing these singers with Pavarotti, Sutherland and Ghiaurov which is hardly fair. 

For this auspicious and yet in some ways unfortunate occasion, after the final performance, there were speeches on the stage with Moffatt Oxenbould telling glowing snippets from the 36 years that Maestro Bonynge had been a part of the company.  A crystal bowl trophy for “life membership” was given by current General Manager, Adrian Collette who spoke briefly. 

Maestro himself then said some words of thanks, after which we were treated to some tickertape and streamers.  While this was a moving tribute, it was poignant that Bonynge has apparently not been asked back to conduct with the company for future seasons.  The lauded maestro even announced that in fact he was ‘still alive’ and ‘available’ (in case anyone in Sydney was interested).  He looked fit and youthful considering his (almost) 80 years.  I was told that he is engaged to conduct at La Scala. 

The particularly awkward situation on stage had the makings of another opera.  It was yet another reminder of the many misguided decisions the opera management has made in recent years, moving it further and further from its audience and its own mission statement.  No wonder they cannot sell seats - so few were sold to a recent performance that apparently the dress circle was closed for the evening.  The company presents fewer real stars, less real opera and much, much more spin.  Just read the hype in the new season’s brochure which came out this week!  It says that numerous singers are in great demand around the world … yet they are the same old singers as we have heard for years with only a couple of international names for select performances.  The company is putting on 17 Butterfly performances, 27 of La Boheme, 20 of Merry Widow, 15 Don Giovanni, 8 Macbeth, 8 Lakme and 22 Carmen.  Why the company would break formulae used here successfully for half a century is beyond my comprehension. 

As if to cement the memories of a once great opera company some of the many unsold seats were given (at least I hope they were given) to a bevy of retired veteran singers from the Bonynge years, almost all being of a higher calibre than most of the current incumbents: Robert Allman, Clifford Grant, Geoffery Chard, Anson Austin, Maureen Howard, Donald Shanks, Lamberto Furlan, Andrew Dalton and John Pringle to name just a few.  Bernadette Cullen and Fiona Janes were also present .. evidently there was also a small back-stage reception afterwards to honour Mr Bonynge.  This is the Australian tall poppy syndrome taken to a ridiculous redundancy.  They could have put on a big gala performance for the 80th birthday … and possibly made some money for the company while displaying some new and old operatic talent. 

There were many other notable people in the audience among the regular Tuesday night subscribers.  One couple I spoke to had been disappointed that their normal subscription had Ms Matthews’ alternative singing and thus they returned to hear this final performance with the company’s hottest property. 

It was telling that this high quality performance of such an operatic masterpiece still had about 250 empty seats (besides the many subsidised for the VIPs).  It is hard to conceive that this company would be capable of putting on Wagner’s Ring operas as announced this week for Melbourne in 2013. 

Comments by Andrew Byrne ..

07 August, 2010

La Sonnambula at the Sydney Opera House

La Sonnambula, Vincenzo Bellini. Sydney Opera House, Thursday 5th August 2010

Dear Colleagues, 

This bel canto opera was ripping and gripping from start to finish.  It was a delight and a pleasure to finally see a fully mounted production of this immortal opera - one of my own favourites, along with Norma.  And for those keen to hear high notes this may have broken some records! 

Richard Bonynge, who turns 80 this month, was completely at home in the pit and his orchestra responded in kind. 

The production was charming, using a three sided palisade with painted mountains putting us in a Swiss valley.  The village centre was a large raised square wooden platform set on an angle and positioned on the now ubiquitous stage revolve.  Mercifully, the turning of this was used sparingly but only occasionally with any particular dramatic purpose.  Projections were only used for some finale flooring, also for no apparent reason.

The story of La Sonnambula is a variation on the theme of boy-meets-girl where girl ‘two-times’ boy and is rejected, only to be exonerated using the sleepwalking defence.  Ask any lawyer!  Gilbert and Sullivan would have been proud, 50 years later!  And there were audience chuckles at times, so rapid were some of the changed affections. [*see a historical note on somnambulism down the ages by Dr Colin Brewer, link below]

Emma Matthews has a voice which is light-years away from Joan Sutherland’s yet she performs many of the same roles in an exemplary fashion.  Some may say Matthews is even more credible than La Stupenda in this opera.  Her act I set piece ‘Come per me sereno … sovra il sen la man mi posa’ was of a high standard which was even excelled in the act II tour-de-force culminating in ‘Ah non giunge, uman pensiero’. 

Stephen Bennett was an excellent choice for the Count.  It is just a shame that this company overlooked him in favour of inferior artists for a decade.  He was dressed to look like Basil Faulty in Act II.  His ‘Vi ravviso’ was ravishing but I heard a complaint that he did not ornament the second verse of the cabaletta, a mortal sin in the view of the complainant, at least for bel canto reprises.  I was also told that the singer playing the Count in a production of this opera by Pacific Opera last year was in the chorus of the present production.  I believe that another chorus member played Elvino in the Rockdale amateur production I saw (twice) in 2002.  To my knowledge this opera has not been performed by a professional company in Australia for many years, probably not since 1965 - when it had the same conductor! 

Our tenor lover was played by Aldo di Toro who seemed a little ill at ease in the first half when he avoided some high options and had some ‘wooliness’ of tone.  He made up for it in the second with sensitive singing and one particularly stunning high held note with the chorus, who also sang well.  The chorus and orchestra remain the backbone of this company.

Ms Lorena Gore played the jealous rival with great aplomb.  It was extraordinary that the two sopranos seemed to be competing in their final two nuptial scenes (to the same man!).  Each sang a rapturous stretta ending in a penultimate sustained F natural followed by a B flat. This is the most phenomenal, glass shattering, ear splitting perfect cadence that, while it might offend some, is also a great draw-card for the die-hard opera goer.  One could dine out on a lesser story for years.  The degree of difficulty is very great and few opera companies would be able to present this sort of thing on their stages in a lifetime … but to have two sopranos doing it on the one night is exceptional and extraordinary, regardless of the rest of the show, in my view.  Each of the high notes was a MOST exciting punctuation of what was balanced and beautiful singing - which is the very meaning of bel canto. 

I was surprised to learn that the company is doing this opera five times in 8 days which may also be a world record - but a worrying one to my medical opinion. On one night the lead soprano is replaced by Ms Gore and her role, Lisa, is played by a third soprano. It is still a gruelling schedule which breaks a long-held rule in major theatres for major roles that there are always two rest days between performances. A prominent ENT surgeon informed me that most singers he has examined the day after singing a major role have haemorrhages and exudates on their larynx. This must take time to heal. Do marathon runners have rest rules? It was highly disappointing that this opening night had many, many empty seats as well as the now familiar coterie of familiar freebie faces - some being only distantly related to the company (even ex-employees). It is clear that the company’s marketing and the ~$300 top ticket price need to be reviewed to prevent the company going backwards financially. The management’s decision to eliminate the cheap D reserve “entry level” tickets also needs to be reviewed. While the top price is about the same at the New York Metropolitan Opera House, the cheapest seat being advertised for the Sydney Opera House is still over $100, while over 1000 seats each night at the Met are under $50. Even the (tiny) number of standing room positions in Sydney was reduced and nothing done to replace this market for young or poor or would-be opera enthusiasts.

Comments by Andrew Byrne ..

This tiny video clip is of the second half of the final aria/chorus from the OA Melbourne production recently …
La Sonnambula finale in Melbourne 2010

* Somnambulism down the ages by Dr Colin Brewer.

Andrew Byrne’s grandfather's letters circa 1924

Somnambulism down the ages.

ROYAL OPERA HOUSE PROGRAMME NOTE:

LA SONNAMBULA. FINAL DRAFT 10/2/02

Re-published here on the occasion of the first professional season of the opera in Australia since 1965 (and with the same conductor, Richard Bonynge).

Written by Dr Colin Brewer. Medical Director, The Stapleford Centre.

SLEEPWALKING: NATURE OR NURTURE?

Amina was lucky. The Swiss are presumably no more prone to sleep-walking than any other nation but in late 20th Century Basel, an episode chillingly similar to the one in the last act of La Sonnambula ended not in joyous reconciliation but in serious injury and would have been fatal in Amina's time. A seventeen year old boy somnambulated straight out of his bedroom window onto the grass six floors below. He suffered several fractures and his spleen, stomach, colon and other useful abdominal organs burst through his diaphragm into his chest cavity but after some clever anaesthesia and stitch-work, he recovered completely. In a case reported from America, the somnambulist got as far as the window ledge of his 35th floor apartment before waking.

In one respect this young Swiss was more typical than his operatic counterpart. Most sleepwalkers are boys but most of them are not yet teenagers. In children between the ages of 4 and 6, sleepwalking is so common (up to a third have at least one episode) as to constitute a normal variant. Like bedwetting (from which, significantly, the Swiss boy also suffered) it is usually due to a slight delay in the growth, maturity and coordination of the brain and like bedwetting, most people grow out of it without treatment.

Sleep, for the technically minded, has several stages which are clearly demarcated by changes in the pattern of waves seen on the electroencephalogram (EEG) - a recording of the brain's electrical activity similar in principle to the more familiar electrocardiogram but more difficult to interpret because the brain is a much more complex organ than the heart. Normally, we pass through sleep stages 1 to 4, characterised by progressively slower waves on the EEG. This progression is followed by periods of Rapid Eye Movement (REM) sleep - the stage most closely associated with dreaming, during which the brain is relatively active and, as the name indicates, the eyes move rapidly from side to side behind closed eyelids. Anyone who has watched a sleeping dog apparently chasing an imaginary cat may have seen something like this phenomenon. A few further cycles of stages 1-4 sleep followed by REM sleep occur before waking. Perhaps surprisingly, sleepwalking (which sometimes runs in families) does not usually occur during REM sleep but in the deeper stages - 3 to 4 - of non-REM sleep. Stage 3-4 sleep is most frequent in children and usually disappears (as, therefore, does sleep-walking) after the age of 40.

Somnambulists usually have blank expressions and seem to be indifferent to their surroundings. Their behaviour during the episodes, which typically last only a few minutes, often seems clumsy, purposeless or trivial but sometimes involves complex actions. If they wake up before returning to their own bed, they are often confused for a few moments and the usual advice is not to wake them unless they are in imminent danger. Sadly, they don't usually speak, let alone sing, but in many important respects,
Sonnambula presents a clinically accurate picture, including the fact that somnambulism is commonest during the early part of the night. (And just as well: it might be difficult to devise a convincing plot that required the entire population of the village to be out and about and in chorus mode at 4 am)

Like most disturbances of human behaviour, sleepwalking can easily lead to arguments between those in the neuropsychiatric camp who think that the main problem is an abnormality in brain function (for which medication might, in principle, be helpful) and those of the psychodynamic persuasion who favour largely or exclusively psychological explanations and remedies. These two explanations are not mutually exclusive, of course. A physical abnormality affecting the brain or any other organ may be made worse by strong emotions. However, if the underlying physical abnormality or vulnerability isn't there in the first place, the condition associated with it will not occur however much stress and emotion are flying around. The trouble is that while most neuro-psychiatrists readily accept that manifestations of brain dysfunction can be modified by personality, stress, emotion and so forth, the psychodynamic inheritors of the Freudian mantle sometimes behave as if the brain, despite its marvellous complexity, is the only organ of the body that never goes on the blink. Under the microscope, one bit of liver, heart muscle or lung, looks very like any other bit. The brain is much more specialised and the various parts have some splendid Graeco-Roman names (hippocampus, mammillary bodies, locus coeruleus) which are almost a match for Freudian buzzwords like Oedipus and the vagina dentata.

Despite the conclusion of most studies that sleepwalking has 'no demonstrated associations with...psychopathology', and that it chiefly reflects cerebral rather than psychological abnormalities, sleepwalking, like dreaming, provides a fair amount of obvious grist for the Freudian mill. Dreams, for Freud, were famously "the royal road to the unconscious" but as we have seen, somnambulism and dreaming are typically separate and even incompatible activities, characterised by different and fairly specific neurophysiological processes. Although he started his professional life as a neurologist, Freud did not know this, which explains and perhaps excuses his use of 'somnambulism' to include the perambulations of a patient in a hypnotic trance - a horse of a very different colour.

To paraphrase Samuel Butler, 'God cannot rewrite history but psychoanalysts can. Perhaps that is why He tolerates their existence'. Despite Freud's well known caveat that there are times when 'a cigar is only a cigar', Freudians remain enthusiastically wedded to the idea that the complex is preferable to the simple, that sex is a universal rather than a common factor in human behaviour and relationships and to imaginative speculation rather than prosaic evidence - in short, to a baroque as opposed to a Spartan view of mental processes. Baroque is more fun, of course, with lots of interesting decorative details to divert attention from more important considerations, such as whether the foundations are sound but in the past quarter century, a seismic change has affected the status of these foundations. The change is that most people in psychiatry - who are at least as concerned as physicians or surgeons to concentrate on evidence-based treatments - do not now regard psychoanalytic theories as having much explanatory or therapeutic application.

Forty years ago, the psychiatric journals - particularly American ones - were full of learned papers incorporating psychoanalytic concepts and taking them for granted. Around the mid-1970s, these papers gradually disappeared off the face of the academic planet, surviving only in a few specialist psychoanalytical journals. The historian Edward Short has documented the way that the psychiatric establishment in America was very strongly influenced by psychoanalysis and its practitioners before, during and after WW2 and to a much greater extent than any other country. Indeed, it could be argued that as with some of the nastier Latin-American regimes, psychoanalysis could not have survived without US support. Now that that support has largely vanished, psychoanalysis has retreated to the more academically and heuristically undemanding habitats provided by journalism, the counselling industry and the arts - a Pollyanna archipelago where no beautiful hypothesis is ever slain by an ugly and inconvenient fact.

Can psychoanalysis help in cases like Amina's? It's true that she's an orphan and adopted, and both Freudians and neuropsychiatrists might reasonably make something of that. (Perhaps she was dropped on her head as a baby.) On the other hand, she is not obviously unhappy except on account of Elvino's jealousy and she seems popular with her peers for all the right reasons. Losing two parents might have seemed like carelessness to Lady Bracknell but wouldn't have been so unusual in a pre-Bazalgette age when lethal epidemics were still common (and when successful adoptions could occur without the involvement of platoons of social workers). Whatever the underlying causes, the Aminas of this world clearly need help if they're not going to end their days expiring dramatically (perhaps Traviata-style in some rustic Swiss 1830s version of a hospital soap-opera). So what can we actually do to help persistent sleep-walkers who repeatedly somnambulate into dangerous situations? (Amina's compatriot apparently somnambulated again in the orthopaedic ward just as soon as he was unencumbered by weights and pulleys.) Do we go for talking-and-listening or do we reach for the Prozac aerosol?

In many psychotherapy programmes, people are talked through their problems, with or without interpretations, until at some stage they say something like: 'Well, I guess I never really saw it that way before'. The cognitive behaviour therapist treating a patient with spider-phobia will only be successful when the patient comes in practice to see spiders as less frightening and not worth responding to as if they represented a mortal threat. For the patient of a cognitive therapist, progressively exposed to pictures of spiders, then to small dead spiders and finally a real live frisky one, this is likely to be seen on both sides as a matter of familiarity breeding contempt. The patient in psychoanalysis may be more likely to say: 'I have stopped being frightened of spiders because I have come to agree with your view that I am frightened of them because their long legs activate the repressed memory of a time when I saw my parents having sex'. (Which was more or less how Freud interpreted a child's fear of horses in the famous case of 'Little Hans'.) So long as both patients can cope with spiders, does it matter which therapy is used or whether the 'explanation' underpinning the treatment is correct? Isn't relief without explanation better than explanation without relief? (And let's not forget that many conditions improve, sometimes dramatically, once people recognise that they have a problem and go and see someone about it.)

If somnambulism, in a particular case, seems related to stress or distress, a bit of listening, probing, speculating and advising would seem a sensible beginning, especially if their bedroom isn't on the sixth floor. But what do you do if there is no obvious precipitant, or if there is an obvious source of tension or unhappiness but it cannot easily be resolved or come to terms with and they keep on walking despite understanding perfectly why it's happening? The first choice wouldn't actually be Prozac, which can sometimes make sleep problems worse, but that classic mother's little comforter of the 1960s. The texts say that sleeping-tablets of the benzodiazepine group, of which Valium (diazepam) is the best-known member, reliably suppress stage 3-4 sleep, thus removing the particular pattern of brain activity that is necessary for sleep-walking. Like drugs for bedwetting, it shouldn't usually have to be taken forever because somnambulism rarely outlasts adolescence. How fortunate for opera-lovers that Valium, though originally synthesised by a Swiss firm, wasn't around in the 1830s to complicate a touching little story of love and jealousy.


Written by my friend and colleague, London psychiatrist Colin Brewer. Posted with his permission.

26 July, 2010

Mad scene gone mad! Sydney University musical muck-up day!

Victoriana at St Paul’s College, Sydney University. The mad scene gone mad. Letter from Dr Bill Brooks, Sydney Alzheimer’s Disease researcher.

Dear Andrew,

Many thanks for keeping us up to date on what’s been happening – we are sorry we missed Mr Bonynge’s birthday bash but unfortunately we were OS. No music or opera, but several galleries – the Huntington (great collection of portraits by Reynolds, Gainsborough, Romney, et al.), the Getty, and LACMA (LA County Museum of Art, which has a major collection including several Rembrandts).

Mlle Brun (the former Angela Edwards, who sang for Mr Bonynge in the Auber and Thomas) has been appearing at St Paul’s College with her husband Julian in this year’s Victoriana season – unfortunately not accompanied by me. I would have given my eye teeth to have done it but was overseas for part of the season this year. A young Beardsley-esque pianist called Daniel Ward, in College after studying with Gerard Williams, played brilliantly.

After last year’s Queen of Night (Der Hölle Rache) followed by the Ride of the Valkyries, the powers that be managed to put together a slightly shortened version of Lucia’s Mad Scene, beginning with a very creditable “D’immenso giubilo” (helpfully translated as something like “With jolly minstrelsy...” sung by the small but enthusiastic ensemble of wedding guests, followed by a dramatic announcement from the kitchen door by Raimondo, to which the chorus replied, “What hath happened??” There followed Angela’s entrance in bloodstained dress through the kitchen door, bravura dramatics and then thrilling coloratura singing.

Subtle dramaturgical elements to assist the audience’s understanding were helpfully included. As Lucia chased the elusive flute runs, a canary was hung from a fishing rod for her to chase. When she caught it, it was found to contain a party popper which unfortunately exploded. There was some business with balloons which was reminiscent of Charles Chaplin and the Lohengrin Prelude in “The Great Dictator”. During the cabaletta “Spargi d’amaro pianto” she despatched the balloons one-by-one with a pin, and then each of the singers with a dagger! By the concluding high E flat, the stage was littered with bloodied corpses. The final coup-de-grace was administered by Raimondo, in this production a Franciscan friar, who stabbed Lucia before removing his cowl to reveal his mask as the phantom of the opera.

Written by Bill Brooks who has performed in the Victoriana festivities regularly for over twenty years.