Cut and paste is a marvellous facility: but
when you have chopped and changed, it is a good idea to review
the ‘new’ whole to ensure that there are no bloopers leaving
you with paste (not egg) on your face. So what is cut? Out go
Jove, Neptune and Juno the quarrelling gods – ‘irrelevant’ says
Musical Director Glen Wilson. The Phæacians do not get a mention,
no ship is turned to stone, the dancing moors are despatched
without a word, as is poor old Ericlea. There are several libretto
cuts. The significant ‘paste’ involves moving Act 2 scene 11,
where Mother and Son converse about his travels, back to the
end of Scene 3. I will return to that.
Thus, in principle,
this is Monteverdi’s opera according to Glen Wilson. At least
he lets the singers sing. And for that we must be grateful because
for the most part they do that well indeed.
If Anthony Rolfe
Johnson’s voice is beginning to sound a little dry, his power
and colouring are in glorious form: power that almost has its
own echo-chamber effect; dynamics that deserve study with occasional
gentle floated notes that he leaves hanging. Diana Montague
(Minerva) is his guardian ... and how. Clear diction, ringing
words, strong runs: a voice as fine as ever. Together, they
are excellent.
Graciela Araya (Penelope),
when lento and in mezzo register produces a deep, creamy
almost velvet sound. I enjoyed particularly her Torna il
tranquillo al mare sung over the sleeping Ulysse. Hers is
not the most beautiful instrument when in soprano register with
some loss of word clarity. However with Monica Bacelli (Melanto)
she produces again a warm, open, focused line that adds so much
to their interaction.
Bacelli doubles
as Fortune (yes, the Prologue is still with us) where I thought
there were some worryingly un-middled high notes. Although vocally
focused with Mark Tucker’s Eurimaco, she again seemed vocally
and dramatically restless whilst he groped away. Once all that
was over she fell to trying to persuade Penelope to move on
in Cara amata Regina. There appeared a depth of
acting and beautiful seductive sound to lead into a seriously
moving Ama dunque.
In this production,
Tucker is not a convincing Eurimaco. He seems to find difficulty
with the staccato, but then moves on with some fine legato and
colouring. Toby Spence (Telemaco) takes a crisp clear line from
his first note and seemed effortless in producing a smooth tone
with acting to match. His voice balances extremely well with
both Montague and later Rolfe Johnson. Adrian Thompson (Eumete)
does not have the strongest voice and occasionally it produces
an uncalled for vibrato: but he has superb diction with not
a syllable missed and good dynamics within his range. With Rolfe
Johnson there is an excellent vocal complement.
Sadly I do not think
that the trio of suitors, Jaco Huijpen (Antinoo), Christopher
Gillett (Pisandro) and Brian Asawa (Anfinomo) are great wooers.
There is no particular delight evident in their attempts at
persuasion in offering themselves or their crowns. However,
when they become conspirators they seem to relish the character
change / development. Asawa’s high-seated sound balances excellently
with Gillett’s clear tenor and Huijpen’s (occasionally somewhat
forced) bass.
Iro, the stuttering
glutton, who supposedly provides some comic relief, affords
little here. The early words are delivered in a mixture of spoken/sung
text with a vibrato which does not help. Only mutterings and
a blown raspberry produce an audience laugh. His supposed imitation
of a lamentation is delivered as the lamentation itself and
excites no sympathy for a blood-smeared and wounded character.
Asawa and Huijpen
‘double’ in the Prologue also (L’Humana fragilità and Tempo)
with Machteld Baumans joining as a secure note and run Amore.
Glen Wilson leads
the Baroque Ensemble that just manages not to threaten the supremacy
of the singers. Some of the arpeggiated chords are very powerful
for scene-setting and vocal support.
In the brief accompanying
notes by Wilson he refers to re-arranging the order. OK. But
really someone ought to have noted that if you move the Telemaco
and Penelope interchange forward, then later it is a little
pointless for Eumate to tell Penelope that Telemaco has returned
and even later for the suitors to plan gifts for Penelope before
Telemaco arrives. And if you must have slaughter with swords
then should not the relevant words and subtitles have been changed
to substitute ‘swords’ for ‘arrows’? Pedantic? Probably; but
silly lapses are fodder to the cannon of critics of our “exotick
and irrational entertainment”. An entertainment which never
(and I mean never) fails to interest if not delight me for otherwise
I would not be writing this and perhaps you would not be reading
it either.
Robert McKechnie