Opera Australia Chorus - Circa Ensemble - Christophe Dumaux in "Orphekus & Eurydice" |
Composed by
Christoph Willibald Gluck – Libretto by Ranieri de’ Calzabigi
Direction
and Set Design by Yaron Lifschitz – Conducted by Dane Lam
Costume Design
by Libby McDonnell – Lighting Design by Alexander Berlage
Projection
Design by Boris Bagattini – Choreographed by Yaron Lifschitz, Bridie Hooper and
Circa Ensemble.
Joan
Sutherland Theatre, Sydney Opera House until 31st January 2024.
Opening
night performance on 12th January reviewed by BILL STEPHENS.
Christophe Dumaux (Orpheus) - Sandy Leong (Eurydice) in Opera Australia's "Orpheus and Eurydice" |
It was an
interesting decision by Guest Creative Director, Lindy Hume, to look back to
the era of European Enlightenment for inspiration for her mini summer festival
of opera experiences for Opera Australia.
When writing
“Orpheus and Eurydice” Gluck was heavily influenced by the writings of
Francesco Algarotti who declared that operas “should delight the eyes and ears,
rouse up and affect the hearts of an audience without the risk of sinning
against reason or common sense”.
Gluck’s pera
premiered in 1762, and tells the story of a young man who ventures into the
underworld to rescue his wife who died on their wedding night. Gluck wrote his
opera for just three characters, a chorus and an orchestra. As much of the
singing is static, he also included plenty of ballet music.
Lifschitz’s
concept has the entire opera taking place in a stark white asylum, with Orpheus
strapped to a bed for much of the opera. The events being witnessed by the
audience are taking place in Orpheus’ imagination.
It was
premiered by Opera Queensland in 2019, and certainly ticks all of Alganotti’s
boxes.
The very
first vision is of Eurydice. She is costumed in red and suspended high above
the stage. Slowly, twitching fitfully in the clouds, she is lowered to the
floor.
There is nothing
static about Lifschitz’s stagings. The
stage is filled with a constant stream of extraordinary stage pictures, drawing
on the skills of ten extraordinary athletes who keep the audience on the edge
of their seats with their truly breathtaking acrobatic feats.
How these
acrobatics represent aspects of the story-telling is not always clear, but they
are certainly spectacular and a major reason for why this production is so fascinating.
Christophe Dumaux (Orpheus) - Circa Ensemble -in "Orpheus & Eurydice" |
Offsetting
the constant movement of the acrobats, the chorus in identical black costumes,
form stationary tableaus or process around the outskirts of the stage while maintaining
perfect harmonies. It is only in the
final scene that they get the opportunity to glam up in Libby McDonell’s fanciful,
elegant individual costumes.
Atmospheric
lighting by Alexander Berlage and extraordinary projections by Boris Bagattini
which featured huge images and surtitles which distintegrated and melted away
when projected onto the stark white walls, added to the unworldly atmosphere of
the production.
French
countertenor, Christophe Dumaux, in his Sydney Opera House debut, plays
Orpheus. He carries the bulk of the solo singing, and fascinates with his ringing,
silver-toned voice, whether strapped to a bed, participating in acrobatic
manoeuvres or strung up by his ankles. However he is at his most glorious singing
Orpheus’s all-important solo, “Che faro senza Eurydice?”
Circa Ensemble - Opera Australia Chorus - Sandy Leong (Eurydice) in "Orpheus & Eurydice" |
On opening
night, the roles of both Eurydice and Amore were played by diminutive soprano
Sandy Leung, a full-time member of the Opera Australia chorus, who stepped into
the role at short notice when Cathy-Di Zhang became ill.
Leung was
born and studied in Hong Kong, where she sung principal roles. In 2017, she
joined Opera Australia as a full-time member of its chorus for Handa Opera on
Sydney Harbour’s production of “Carmen”. Since then, she’s completed many
full-time chorus seasons with the company.
This
performance unexpectedly became her Australian solo debut. Judging on her
assured performance however, this was certainly not obvious. She quickly won
over the audience with her sweet, clear soprano and confident demeanour, even
managing Lifschitz’s acrobatic stagings with remarkable élan, while creating
one of those “A Star is Born” moments for the audience.
Sandy Leong (Eurydice) - Christophe Dumaux (Orpheus) - Circa Ensemble in "Orpheus & Eurydice" |
Dane Lam, who conducted the original 2019 production, and is well-known by Canberra audiences for his conducting of National Opera’s production of “La Clemenza di Tito”, guided the Opera Australia orchestra through Gluck’s sparkling score, obviously revelling in the opportunity to share his fascination with this opera.
Running just
80 minutes and presented without interval, this production so unique,
innovative and entertaining, it would be a shame if it were not seen in opera
houses, not only around Australia, but around the world.
Opera Australia Chorus - Circa Ensemble - Christophe Dumaux (Orpheus) in "Orpheus & Eurydice" Images by Keith Saunders This review also published in AUSTRALIAN ARTS REVIEW.www.arts review.com.au |