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SEEN AND HEARD UK OPERA REVIEW
Five:15 – Operas Made in Scotland:
Soloists, Orchestra of Scottish Opera. Conductor: Derek Clark. Traverse Theatre, Edinburgh, 20.5.2010 (SRT)
Zen Story
Music: Miriama Young
Words: Alan Spence
Director: Michael McCarthy
Sublimation
Music: Nick Fells
Words: Zoe Strachan
Director: Matthew Richardson
The Money Man
Music: Lyell Cresswell
Words: Ron Butlin
Director: Matthew Richardson
74° North
Music: Paul Mealor & Peter Stollery
Words: Peter Davidson
Director: Michael McCarthy
The Letter
Music: Vitaly Khodosh
Words: Bernard MacLaverty
Director: Irina Brown
Singers:
Lee Bisset (soprano)
Louise Collett (mezzo)
Alexander Grove (tenor)
Martin Lamb (bass-bar)
Dean Robinson (bass)
Arlene Rolph (mezzo)
Miranda Sirani (sop)
Jeremy Huw Williams (bar)
Scottish Opera’s highly successful (and influential) format for new work returns for its third year with a mix of very diverse work. Ultimately I found it a less satisfying evening than last year, despite committed performances, but I’m still convinced that it is a great format for new music.
The piece which worked best for me was the opener, Zen Story, mainly because of its atmospheric orchestration. Concerning a Holy Man in modern Japan the mystical, almost gamelan-influenced score fitted the material like a glove, making up for the rather undistinguished vocal lines. It also successfully fitted a whole scenario into the 15-minute format, something promised by The Letter but which failed to materialise successfully. Bernard MacLaverty’s text felt lazy to me, relying too much on the natural power of the Holocaust story rather than working to produce any cathartic effect. Khodosh’s music was the most memorable of the evening, sounding in places like a pastiche of Shostakovich, but with a Russian composer and Irish-born librettist this one stretched the “made in Scotland” tag a little.
I found 74° North very powerful, the raging dissonances and electro-acoustic score helping to evoke the relentless chill of the arctic setting. It also had the most poetic libretto, though it was in danger of lapsing into self-parody towards the end, not helped by some histrionic acting. Sublimation had all the right ingredients but turned into repetitious hysteria with ineffective music and no sense of surprise when the final revelation came.
The Money Man was, in fact, the first three scenes of a work in progress, a topical story about a stock market trader who is on the brink of losing it all. It had the strongest vocal (and physical) characterisation of the evening in Martin Lamb and a humorous score to accompany an amusing text, such as the cumbersome bassoon that accompanies an inept declaration of love. Five:15 is taking a break next year and we are promised some longer works in the future, so it will be interesting to see if this piece is turned into something bigger.
In an evening of distinguished vocal performances the stand-out, for me, was tenor Alexander Grove, who stole the limelight as the geeky Steve in The Money Man and produced singing of “Mad-scene” proportions in 74° North. There was also a welcome return from Dean Robinson whose rich bass was perfect for the Holy Man in Zen Story and the sympathising civilian in The Letter. The orchestra’s performances were committed and transparent all evening, as was the distinguished conducting of Derek Clark.
Alex Reedijk, Scottish Opera’s General Director, has had some criticism from certain corners for focusing on this format for new operas rather than developing more full length works, but I think Five:15 suits Scottish Opera’s circumstances remarkably well. It is exciting, fresh, experimental and, importantly, it’s popular, playing to packed houses every night. It is also a far more cost-effective and accessible way of introducing the public to new work and if new full-length operas come out of it then so much the better, but the success and power of this particular format shouldn’t be jettisoned just because it produces larger scale success.
Five:15 plays at Òran Mór, Glasgow until 27th May. For full details go to www.scottishopera.org.uk
Simon Thompson