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SEEN
AND HEARD OPERA REVIEW
Donizetti, The
Elixir of Love:
(in English) New Production Premiere. Soloists, Swansea City
Opera Orchestra and Chorus / Conductor:
Fraser Goulding. Queen’s Theatre, Barnstaple, North Devon, UK
25.10.2008 (BK)
Translating the text into English, with a reduced chorus and orchestra and
transposing the action from Italy to Portmeirion in the 1920s,
left
a great deal of scope for this production
to fail dismally. Instead, it was a triumph
in every respect. The translation was
witty and engaging and was audible owing to the singers’ excellent
diction; the orchestral arrangement (by conductor Fraser
Goulding) was masterly and the singing itself was a delight.
Joint Artistic Director of Swansea City Opera
Rebecca Ivey (Angharad/Adina) was another voice with a
much promise, as was Gareth Huw John (Arianwyn/Nemorino).
Both showed vocal strength and beauty of tone throughout their demanding
roles, and brought an energy and enthusiasm to their
characterisations which is one of the great
strengths of this company.
Ivey’s acting was perhaps a little uncertain, but this was more
than compensated for by her vocal skill, while Gareth Huw John was
very likeable as the naïve young man in love with the unattainable
girl of his dreams. Katherine Jane
Bagshawe as Gwenllian /
Gianetta also had a voice of
impressive clarity and charm.
Adina (Angharad), Rebecca Ivey, soprano
Nemorino (Arianwyn), Gareth Huw John, tenor
Belcore (Sgt Beadden), Robert Davies, baritone
Dulcamara, Brendan Wheatley, bass baritone
Gianetta (Gwenllian), Katherine Jane Bagshawe, soprano
Set design Gary McCann
English translation by Ruth and Thomas Martin (adapted by Bridgett
Gill and Brendan Wheatley)
The Set - Night Scene
Placing the action in North Wales made next to no
difference to the story and made no demands on
audience credulity. Gary McCann’s set
design used the
architecture of Portmeirion in miniature, achieving a setting which
never intruded
but which was very
effective in giving an unmistakeable and
attractive context for the action.
Dulcamara (Brendan Wheatley) and Angharad / Adina (Rebecca
Ivey)
Skilful casting ensured that the other leading parts were taken by
extremely impressive young singers, all of whom were not only a
pleasure to hear, but who should all develop into even better artists
than they already are. The
most immediately impressive was Robert Davies as Beadden/Belcore.
From his first appearance as the slightly seedy Sergeant,
his voice
was warm, accurate and elegantly beautiful
and given that he's a baritone who started out as a tenor, curiously
reminiscent of
the basses
László Pólgár and Alfred Reiter. His is certainly a
voice I should like to hear again.
Arianwyn / Nemorino (Gareth Huw
John)
As always, the six member chorus and
the small cast managed to produce what seemed
to be a huge amount of sound for so very few people, and
tackled the
complexities of the ensemble singing without either problems or
inaccuracies. Under the direction of
Fraser Goulding, singers and orchestra produced a
performance which was
a great pleasure to hear. It was
a tribute to the skill of the whole team,
first in selecting an appealing work
and then in reducing it for production in very
limited
settings.
The work of Swansea City Opera in this regard cannot be
praised too highly. They bring high quality opera to theatres which
are too small or remote to receive even slightly larger
companies, and give audiences the chance to hear opera as it should
be heard, with excellent singers and musicians, and with
unpretentious but satisfying direction.
This was a great evening of entertainment and music, thoroughly
enjoyable and to be
unreservedly recommended. Go to see it
if you possibly can.
Bill Kenny
This production tours until 9.4.2009. Details of venues and
dates are on
Swansea City Opera's web site
Here
Pictures © Guy Harrop
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