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Opera London took care over simple traditional sets and charming costumes |
A marriage not quite made in heaven
REVIEW: OPERA LONDON -
MARRIAGE OF FIGARO
Shaw Theatre
CAMDEN was once internationally famous for its opera seasons in the much missed Camden Festival, which in its 30 years of existence helped launch a generation of singers such as Dame Kiri te Kanawa, John Tomlinson, Joan Sutherland and many more on their path to fame.
So it seemed a good idea to bring opera to the Shaw Theatre, and it was generous of the Metropolitan Grand Lodge to sponsor Opera London’s performance of Mozart’s Marriage of Figaro – a nod to Mozart’s Masonic sympathies. All praise to them for their support for the arts.
Opera London has grown out of the enterprising amateur opera productions Upstairs at the Gatehouse in Highgate. However, while their efforts as a local group performing for their relatives and friends would be acceptable, it was over-ambitious to suppose that the quality of their performance justified a move to a West End venue, as the rows of empty seats demonstrated.
Much care had been taken over the production, with charming costumes and simple traditional sets. Lighting was in the expert hands of Olivier award-winning lighting designer Mike Robertson. Racky Plews’ direction kept things moving and worked well in the confined space available.
Unfortunately, things on the musical side left much to be desired.
In the absence of a pit the 16-piece orchestra and conductor were tucked away behind the singers. On an apron stage with, apparently, no monitors on which the singers could see the conductor, things too often fell apart, especially in the ensembles.
While the performers exuded youthful charm and enthusiasm, they could not live up to the company’s claim to “highlight the outstanding musical and acting talent populating UK opera”, with the sole exception of Helen-Julie Johnson’s Countess, whose voice showed potential. The intentions of those running the company may be sincere and laudable, but they do not appreciate their limits and it is unfair to these young people to expose them in this way.
It was also unwise to justify the venture on the basis of exaggerated claims in the programme notes. The profession does not “favour young music school graduates”; it simply looks for the best talent, whatever their background; musicians need schooling for a professional career just as much as lawyers.
Opera is not “traditionally limited to the big opera houses or large venues”: there are still umpteen small opera companies throughout the UK, both amateur and professional, managing against all the odds to provide opportunities for young singers to gain experience. University College Opera just up the road is still going strong after several decades.
The real problem is the lack of government funding, not the lack of venues or small opera companies.
Having said that the Shaw Theatre provided a comfortable and welcoming space and one hopes that opera performances of a higher standard might become a feature of its programmes, if they can sort out what to do with the orchestra.
There are several good small companies out there with much to offer.
HELEN LAWRENCE |
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