By Karol
Szymanowski
Directed by
Kasper Holten,
Revival
director Amy Lane
Conducted by
Andrea Molino
Opera
Australia, Sydney Opera House until 15th February 2017
Reviewed by
Bill Stephens
This
extraordinary staging by Opera Australia in the Sydney Opera House is the first
time Szymanowski’s “King Roger” has been performed in Australia. A
co-production with the Royal Opera House and Dallas Opera, this production was
first presented in Covent Garden, and these performances in the Opera House are
the culmination of Opera Australia’s Artistic Director, Lyndon Terracini’s long
held ambition to introduce this opera to Australian audiences.
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| Steffen Aarfing's act 1 setting for "King Roger" |
Premiered in
Warsaw in 1926, “King Roger” turns out to be a musico-psychological examination
of the composers own struggles with issues of his sexuality at a time when
homosexuality was hidden. These struggles are represented through a situation
involving a fictional King Roger 11 of Sicily (Michael Honeyman), troubled by a
demand from his subjects that he punish a young shepherd (Saimir Pirgu) accused
of blasphemy for preaching freedom, pleasure and love.
King Roger’s
wife, Roxana (Lorina Gore), is drawn to the teachings of the shepherd, and
persuades the king to arrange a private meeting to allow the shepherd to
explain himself. At this meeting the king finds himself attracted by the
shepherd’s seductive urgings
.
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| Michael Honeyman and Lorina Gore as King Roger and Roxanne |
Szymanowki’s
music is melodic and inventive, demanding massive choral and orchestral
resources. Probably the only conductor in the world to conduct this opera from
memory, Andrea Molino deftly moulds the Sydney Children’s Choir, the Opera
Australia chorus and orchestra into an intoxicating kaleidoscope of luscious
sound to compliment director, Kasper Holten, and designer Steffen Aarfing’s compelling
visual concept.
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| The cast of Opera Australia's production of "King Roger" on Steffen Aarfing's Act 11 setting |
Though
sometimes presenting a wall of sound, the music is surprisingly transparent,
and Molino takes great care to ensure that the musical detail is apparent to
the listener.
The opera commences
quietly, gentle choral music suggesting a cathedral. But slowly a huge
sculptured head of the king is carved out by lights and dominates the stage for
the first act. As the opera continues, the head revolves to be inhabited by the
king and a troupe of muscular young men who writhe and disport themselves erotically
in a strikingly vivid portrayal of the king’s mental state.
The final
act takes place around a bonfire of burning books, culminating with the king
arriving at his decision and being transformed by the golden morning sun.
Although
much of the opera is static, and the libretto fairly incomprehensible, the
intent of the opera always remains clear. The direction is careful to ensure that
the attention of the audience is always focussed on the protagonists, never
allowing the spectacle to distract from the emotions being portrayed by the impeccably
chosen cast.
Displaying impressive
stage presence in the role of King Roger, Michael Honeyman employs his superb dramatic
baritone voice to great effect, convincingly portraying his character’s mental
anguish without resorting to melodrama. As his queen, Roxana, Lorina Gore delights
with her lustrous silvery tone and glamourous stage presence. Her confident interpretation
of the demanding score confirming her as one of Opera Australia’s most
accomplished and exciting singers.
 |
| Saimir Pirgu as The Shepherd |
As the third
member of the triangle, Saimir Pirgu, in his first appearances with Opera
Australian, having sung this role previously in London, was perfect casting in
the role of The Shepherd. His confident demeanour, delightfully bright,
flexible tone and suave good looks made it easy to believe in his power to
bewitch both king and queen and their subjects.
Completing
an outstanding cast, Gennadi Dubinsky and Dominica Matthews, as the Archbishop
and the Deaconess, and James Egglestone as the king’s advisor, Edrisi, each
contributed thrilling singing and intelligently considered performances in an
outstanding production destined to become a treasured experience for anyone
lucky enough to experience it.
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| Michael Honeyman and the Opera Australia chorus and dancers in Act 111 of King David Photos by Keith Saunders This review also appears in "Australian Arts Review" www.artsreview.com.au |
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