It Ain't Over Til The Fat Lady Sings

Be vewy, vewy quiet. I have a secret.

Actually, with as little fanfare as possible, I would like to announce that very soon The Fool and The Opera will go on permanent hiatus.

This past week I've been working on the final interviews for our major funding body the Australia Music and Radio Airplay Project (AMRAP) project and there will be a final push of promotions once the interviews with Jonathan Henderson, Oliver Mann, Thanapoom Sirichang and Jon Jackson go online. However, as you probably have guessed by now, the program as a weekly show will cease to continue operation.

I've been working on the show since August 2008 and the show has evolved and changed since then, as has my life circumstance and my network of friends. First setting out with radio partner Jed Gilbert we worked hard and were lucky enough to collect collaborators, supporters and most importantly listeners. It has been richly rewarding.

Thanks so much to everyone involved in the show and everyone who has stepped forward and dared to be interviewed on the show. Thanks to Paul Williamson for carrying the show as well as keeping the blog going during my tenure as the station's General Manager. Thanks so much to you for listening and reading. I would most of all like to pay tribute to my media teacher Addam Stobbs, may he rest in peace.

I have in the last 3 months left my job and set off for Asia and am currently in Singapore working on the start of a series of interviews with the gay and lesbian community in South East Asia. The project aims to raise awareness about AIDS / HIV, equal rights and in many respects just show that there is actually a community here!

This self funded project will see me travel through Vietnam, Cambodia, Laos, Malaysia and Japan over the next 3 months. This was something that I had been planning with Addam and in the wake of his passing I am putting as much of my creative energies into this project, as I would like to complete it in his honour. If you are interested in supporting this project please get in touch with me.

Meanwhile, if you want to read my posts while I'm travelling the world and working on the new project you can check out Dan Vogue. Soon you will see the content of most of my blogs namely Brokeback Marketing, The Fool and The World and of course this one consolidate into one central website to be announced later. This means this blog will shut down soon.

But, of course it ain't over til the fat lady sings, but the soprano is almost ready and it won't be long until she's on stage. So while you're waiting please switch off your phones, sit back, relax and enjoy, the show is about to start, er end.

Review: Victorian Opera's The Turn of the Screw

Victorian Opera’s latest offering is Benjamin Britten’s 1954 chamber opera, The Turn of the Screw. Based on a novella by Henry James, it is a complex, enigmatic work about a governess and two children and is set in an English country house.

The governess (Danielle Calder) is hired to look after Miles (Takshin Fernando) and Flora (Georgina Darvidis) with assistance from a housekeeper, Mrs. Grose (Maxine Montgomery).

The governess sees a pale-faced man, Peter Quint (James Egglestone), the former valet who died in mysterious circumstances. Later the governess sees Miss Jessel (Melanie Adams), the beautiful former governess. The governess suspects the ghosts have some power over the children.

The second act begins with an argument between the ghosts of Quint and Miss Jessel. When Miles refers to the ghosts, the governess resolves to leave Bly House with the children. But she changes her mind, deciding to stay and write to the children's uncle, informing him of what she has seen and heard. Quint tells Miles to steal the letter and the boy complies.

At the lake the governess sees the spectre of Miss Jessel and tries to force Flora to admit that the apparition is close to them, but instead Flora hurls abuse at the governess. The drama escalates and ends tragically.

Director Kate Cherry has mounted a clear, stark production which deliberately keeps the audience guessing. Are the ghosts real or is the governess projecting her fears into hallucinations? Were the children seduced or abused? The production is aided by the minimalist set and the austere 19th century costumes by Christina Smith, and the atmospheric lighting of Matt Scott. Conductor and Britten scholar Paul Kildea led Orchestra Victoria through Britten’s dense, moody score with apparent ease and the musicians responded superbly.

The performances are of a very high standard. Egglestone used his flexible, clear tenor to bring menace to Quint, and Montgomery was a full voiced, secure Mrs Grose. Calder tackled the central role with maturity, and both her acting and singing were outstanding.

VO set itself a difficult assignment with this production but passed with high distinction.

Performance attended: July 17

Review: Malthouse Theatre & Victorian Opera's The Threepenny Opera

It was an inspired choice by Malthouse Theatre and Victorian Opera to revive Bertolt Brecht and Kurt Weill’s The Threepenny Opera for a 21st century audience. It is especially apposite in the new millennium where criminals seem to receive the sort of publicity once reserved for rock stars and footballers.

Brecht and Weill based the work, written in 1928, on John Gay’s The Beggar’s Opera, which was written 200 years earlier. In his program notes, director Michael Kantor refers to “a motley collection of great songs”. With lyrics by Jeremy Sams and text and local references by Raimondo Cortese, the songs stand up extremely well.

Kantor and set designer Peter Corrigan have created a roped off boxing ring on the large Malthouse stage. Into this space are wheeled various sized sets which represent, at different times, the Peachums’ abode, a stable, a low-rent hotel and a jail. The effective staging, enhanced by Paul Jackson’s clever lighting, highlights the themes of competition and corruption.

Anna Cordingley’s costumes are bright and stylized, a gorgeous yellow frock for Jenny (Paul Capsis), vaudevillian orange and pink for Mr and Mrs Peachum (Grant Smith and Judi Connelli), and raffish white for Macheath (Eddie Perfect).

A diverse cast of cabaret and operatic performers has been assembled. Perfect offers us a rather effete, but undeniably evil and grotesque villain, his thinking often done with his penis rather than his head. Capsis’s Jenny acts as commentator as well as participant in the story. He is totally convincing in the role. With their large gestures and Aussie accents, Smith and Connelli appeared to be relishing their roles as the evil Peachums, and Connelli’s singing was a particular highlight. Anna O’Byrne as Polly Peachum revealed a strong, accurate soprano and a winning stage presence, and her Jealousy Duet with Lucy Brown (Dimity Shepherd) was another vocal highlight.

The chorus of thugs and whores (Jolyon James, Melissa Langton, Amy Lehpamer and John Xintavelonis) were by turns menacing, sordid and sleazy. Casey Bennetto as Tiger Brown needed to be more venal.

The musicians under the direction of Richard Gill, at stage right, were unobtrusive but provided secure and supportive accompaniment throughout.

While the local references seemed at odds with mentions of the King’s Coronation, and for me the production had a look and feel far removed from modern day Melbourne, it effectively highlighted the continuing relevance of it themes of corruption, exploitation and greed, and didn’t shy away from having a go at our politicians and religious leaders.

If you haven’t already purchased a ticket, act quickly to experience another great night of theatre and music.

Performance attended 5 June.

Review: Opera Australia's Fledermaus

Opera Australia’s final offering for the Melbourne autumn season is Johann Strauss’s Fledermaus (The Bat). Originally set in 19th century Vienna, Lindy Hume’s production transports it to New York in the 1930s.

In a sumptuous Manhattan apartment Rosalinde (Antoinette Halloran) is being serenaded by her former admirer Alfred (Stephen Smith), initially disguised as a window cleaner. Her husband Eisenstein (David Hobson) is in trouble with the law and about to be imprisoned. Their maid Adele (Amelia Farrugia) receives a letter from her sister inviting her to a party. Eisenstein’s friend Falke (Warwick Fyfe) convinces Eisenstein that the prison stay can be postponed until tomorrow and escorts him to a party being thrown by Prince Orlovsky (Catherine Carby). The police officer Frank (Gary Rowley) arrives to take Eisenstein into custody but a misunderstanding, aided by Rosalinde’s duplicity, sees Frank drag Alfred off to the slammer.

At Orlovsky’s party it becomes clear that Falke has masterminded a “Revenge of the Bat”, as pay back for one of Eisenstein’s long forgotten misdemeanours. Falke introduces Eisenstein as the Marquis de Renard, Adele becomes a Chekovian actress named Olga St Moritz, and when a masked Rosalinde arrives she has assumed a Hungarian title and accent. Eisenstein is immediately infatuated with the Hungarian and proceeds to woo her. If all this wasn’t enough Yvonne Kenny arrives, channelling a film star of the era, and warbles through two numbers, backed by a troupe of male dancers.

Act 3 takes place at a city lock-up next morning. Frosch (Paul Blackwell), a police officer and would-be writer, has a rant at the audience, with the aid of the conductor. Soon all the other characters have reappeared and plot complications are quickly resolved. And we hear a little more about their future exploits by way of amusing text projected on to the screen.

Richard Roberts has designed a lavish art deco apartment for Act 1 complete with backdrop of the Chrysler building and moon, and a magnificent ballroom for Act 2, while Angus Strathie’s bright and elegant costumes are a highlight of the production.

The show has been very well directed by Hume and bouquets also to choreographer Elizabeth Hill who keeps the action in the party scene lively and the dancing precise and eye-catching.

The cast seemed to be enjoying themselves immensely. Hobson perfectly captured Eisenstein’s suave manner and his French accent was very amusing. Smith was most dextrous with his couch jumping wearing only a dressing gown, shorts and socks, and Farrugia was hilarious as the maid/try-hard actress. Halloran was both coquettish and elegant and Carby was extremely convincing as the androgynous Orlovsky. Rowley and Claire Lyon as Adele’s sister Ida also made very good use of their limited moments in the spotlight. And Kenny’s appearance added just the right mix of classiness and camp. Only Fyfe looked a little uncomfortable in his totally thankless role, and Blackwell’s scene was too long and self-indulgent.

Orchestra Victoria played superbly under the spirited conducting of Brian Castles-Onion.

Performance attended May 15.

PS: Ozmouse, were you there?

Review: Opera Australia's La sonnambula

Following the success of Bliss Opera Australia has recorded another hit with a beautifully realised and sung La sonnambula. It’s the first time that OA has presented Bellini’s gem and it proves to be the perfect showcase for the talents of soprano Emma Matthews and maestro Richard Bonynge.

Set in a Swiss village it is the tale of Amina (Matthews) who is to be married to Elvino (Jorge Lopez-Yanez). A stranger, Rodolfo (Joshua Bloom) arrives and speaks fondly of his memories of the village. He also makes eyes at Amina. Teresa (Elizabeth Campbell), Amina’s mother, warns Rodolfo that a ghost haunts the village. The innkeeper Lisa (Taryn Fiebig) recognises Rodolfo as the lost count. Amina sleep walks into Rodolfo’s room and Lisa rushes off to tell Elvino. Discovering Amina in Rodolfo’s bed, the villagers are shocked and Elvino calls off his wedding.

Act 3 begins with the villagers begging the count to verify Amina’s innocence. Elvino takes his ring back and preparations begin for him to marry Lisa instead. But Rodolfo tells the villagers that Amina is innocent and that she is in fact a somnambulist (sleep walker). Suddenly Amina appears sleepwalking towards the ominous mill wheel. The villagers (and audience) hold their breath as Amina narrowly escapes being crushed. She awakens to find Elvino waiting for her and the villagers applauding.

Richard Roberts has created a fairly simple, but ingenious, set consisting of an angled platform on a revolve, surrounded by a wall of wooden slats. The rear slats open to allow Rodolfo’s bed and the mill wheel to make their entrances. As well a sturdy tree trunk descends in act 3 while the villagers are wandering through the woods. Director Julie Edwardson has kept the direction straightforward, sensibly allowing the singers to strut their stuff.

All of the principals were in fine voice. Lopez-Yanez took a little while to settle in, but Bloom, Fiebig and the ever reliable Campbell looked most at home in their respective roles. This opera is, however, essentially a showcase for the lead soprano and Matthews met every challenge with poise and alacrity. She made the difficult arias appear effortless and delivered them with panache. To this end she was superbly supported from the pit by maestro Bonynge. His long experience with the bel canto repertoire was heard to full effect.

Brava!
Performance attended May 8.

Review: Opera Australia's Bliss

Brett Dean’s Bliss has been a long time in the pipeline. Back in 1999 Simone Young, then the newly appointed Music Director of Opera Australia, approached Dean about writing an opera. The work was championed by the late Richard Hickox during his period as Music Director, and librettist Amanda Holden’s invitation to be part of the project occurred in early 2007. I’m pleased to say that it has been well worth the wait.

Based on Peter Carey’s debut novel about the death and transfiguration of advertising executive Harry Joy (Peter Coleman-Wright), Bliss is a substantial and important Australian opera. Its themes of personal discovery and redemption are timely in the consumerist western world where greed and high finance are dominant features.

During a party to celebrate his success in business Harry collapses with a heart attack. Waking in hospital Harry is convinced he’s in Hell. Upon returning home he sees his wife Betty (Merlyn Quaife), and children David (David Corcoran) and Lucy (Taryn Fiebig) in a different light. Harry realises that he has to change his ways. He spies on his family and upon discovering their evil secrets, disowns them.

Act 2 is largely set in “The Heart-throb Hotel”. Harry sacks the company with whom he does most of his business and phones for a call girl. Meanwhile, his family and Betty’s lover, Johnny (Kanen Breen), decide that he’s mad and must be committed to an asylum. The beautiful call girl Honey B (Lorina Gore) appears at the hotel and in the course of an evening Harry and Honey recognise one another as kindred spirits.

Act 3 commences in a Dickensian mental asylum presided over by a domineering matron (Milijana Nikolic). Betty and Honey both arrive to rescue Harry and it is Betty who succeeds in winning Harry back. But her victory is shortlived. She is diagnosed with terminal cancer and takes her revenge on the world by immolating a room full of businessmen, Johnny and herself. The final scene finds Harry and Honey in the forest planting leatherwood trees.

I found Dean’s music very dense and it took me a while to begin to appreciate it. But by the third act it has become more lyrical and the final scene is especially moving. Holden’s libretto is outstanding, we hear the motivations of the characters in succinct language which propels the story at speed. Another highlight is the amazing set by Brian Thomson. Consisting of a series of LED lights in a rectangular block across the back and sides of the stage, it is used variously to spell out messages and to project images. The immolation scene makes for a real blinder!

Director Neil Armfield has elicited convincing and nuanced performances from the large cast. Coleman-Wright is absolutely brilliant and his warm baritone is fully utilised. Quaife and Gore had some very difficult music to sing, and acquitted themselves magnificently. Corcoran and Fiebig were very strong as the children and Barry Ryan as Harry’s colleague Alex also deserves praise.

Dean is the winner of two major international composition awards and this opera can only enhance his reputation. Bliss represents a triumph for Dean, Holden, Armfield and Coleman-Wright in particular, and it is exciting to hear that it will be seen in Edinburgh and Hamburg later this year. Bravos all!
Performance attended May 1.

Review: Opera Australia's Tosca

Puccini’s Tosca is one of the best known works in the operatic repertoire and it is here given a new production by Christopher Alden, which originated with Opera North in the UK.

It’s been quite a controversial production, with the design team being booed in Sydney, and it’s easy to see why. The setting is modern day and all three acts take place on the same set, a dingy church basement. The Sacristan (Warwick Fyfe) has become a security guard who spends most of the show in his office watching a closed circuit TV.

The escaped prisoner Angelotti (Jud Arthur) is dressed in prison fatigues and his hiding place is a confessional at the back of the stage. He makes himself known to his friend Cavaradossi (Rosario La Spina), a painter. When Tosca (Nicole Youl) appears she is sporting sunglasses and wearing jeans. Chief of Police, Baron Scarpia (John Wegner) dons the standard police parka. The first act finale, the Te Deum, is sung by the chorus of adults and children in drab day wear as they await the outcome of the office lottery. Is Alden’s point that gambling is the new religion?

During the second act Cavaradossi is led into the confessional by Scarpia’s henchman where he is electrocuted as they seek the whereabouts of Angelotti. An angry Scarpia attempts to rape Tosca, and in a novel bit of business, Spoletta (Graeme Macfarlane), one of Scarpia’s officers, plants a knife for Tosca’s use. In the dramatic finale to the act a writhing Tosca manages to plunge the knife into her attacker.

The action moves directly into act three, which is played as the impossible fantasy in Tosca’s mind. The opening aria, normally perfromed by a shepherd boy, is sung by the Marchesa Attavanti (Sian Pendry), who has spent the entire second act on top of the confessional observing the torture of Cavaradossi, the attempted rape of Tosca and the murder of Scarpia. Cavaradossi sings E lucevan le stelle (and the stars would be shining) in situ, without a star in sight, Puccini’s music swells and finally Tosca, rather than jumping off a battlement, is shot by Sciarrone (Andrew Moran).

All three leads are in fine voice, in fact it’s the best singing I’ve heard from La Spina, and they were well supported by the other cast members. It was refreshing to hear a mature voice sing the opening of act 3. Orchestra Victoria shone under the guidance of maestro Shao-Chia Lu.

But it’s a muddled, rather drab production, with the only hint of glamour the gorgeous purple gown that Tosca wears in act 2. It’s also the first time I’ve seen all three leads take their curtain calls smeared with fake blood.

Performance attended April 24th. Photos courtesy of Opera Australia and Jeff Busby