By Alan John
and Dennis Watkins - Music by Alan John
Concept and
Scenario by Dennis Watkin- Libretto by Dennis Watkins and Alan John
Conducted by
Anthony Legge - Directed by David Freeman
Designed by
Dan Potra - Choreographed by Andrew Hallsworth
Lighting
Design by Trent Suidgeest- Sound Design by Tony David Cray
Video Design
by Marco Devetak
Sydney Opera
House Forecourt until 5th November 2016
Reviewed by
Bill Stephens
The timing
could hardly have been better following on the findings of the National Opera
Review, because if any example were needed, it would be difficult to surpass this
production as a compelling demonstration of Lyndon Terracini’s professed
commitment to innovation and new technology in the presentation of opera, and
Opera Australia’s ability to rise to the challenges.
“The Eighth
Wonder”, now rather confusingly retitled “Sydney Opera House – The Opera” was
premiered in the Sydney Opera House in 1995, and revived again in 2000. The
opera encapsulates many of the real events, and personalities involved in the
construction of this flawed, but much-admired masterpiece. It also contains a second
plot which provides the human element, telling of a talented young singer with
an ambition to sing in the opera house, but torn between her teacher’s advice
to sacrifice all to further her career overseas, or to marry her fiancé and
continue her career in Australia.
Capitalising
on the experience gained staging the Handa Opera on the Harbour events, Opera
Australia has conceived this magnificent new production on an epic scale, presented
in the open air, on the monumental forecourt steps of the Sydney Opera House itself,
with the building itself looming over the production, a character in its own
right.
A major
innovation which makes this possible is the introduction of personal headphones
for each member of the audience. These headphones allow the singing and orchestrations
to be heard with stunning clarity. They also allow effects like the buzzing of
blowflies, or the crackling of the barbecues cooking to be integrated into the
soundscape. While some may need to reconsider their coiffures, it’s an idea
which works brilliantly.
David
Freeman’s masterful direction allows both storylines to flow clearly and
compellingly, sweeping the opera along in a way that is absolutely captivating.
 |
| Adam Frandsen - The Architect |
Though referred
to in the cast list as The Architect, The Premier, The Politician and The
Queen, anyone with even a passing knowledge of the real events will have little
trouble in identifying the real life characters on which the roles are based. Clever
use of actual historical photos and video create the impression of watching a
documentary as actual incidents are recalled.
Alan John’s score
is richly atmospheric, dramatic and tuneful. Anthony Legge’s conducting
carefully delineates the lush orchestrations, soaring duets and rousing
choruses, while the headphones insure that none of Dennis Watkins amusing
lyrics, written in the Australian vernacular, are lost.
Don Potra’s
design, enhanced by Trent Suidgeests impressive lighting design, provides
plenty of spectacle without dwarfing the performers. The six large stages, shaped
to resemble the tiles which cover the opera house sails, glide gracefully back
and forth across the steps of the vast forecourt, allowing the opera to flow
seamlessly.
Clever use
of props, video projections, both realistic and cartoon, projected onto giant
blow-up backgrounds, and bold, colourful costumes, capture the period and
locales as varied as construction sites, a suburban backyard barbecue, offices
and even the royal yacht Britannia.
 |
| Stacey Alleume as Alexandra Mason |
The singing
through-out is spectacular, especially from Danish tenor, Adam Frandsen, who makes
a memorable Opera Australia debut with his passionate singing and acting as The
Architect. He receives strong support, from Martin Buckingham, (The Premier),
David Greco (The Engineer), Samuel Dundas (The Politician) and Adrian Tamburini
(The Maestro).
Stacey
Alleume succeeds superbly as the young soprano torn between her husband and her
career ambitions, while Michael Petruccelli as her unsupportive young husband
and David Parkin as her ocker father, both create memorable characterisations. Gerry
Connolly provides some laugh-out-loud moments with his well-honed turn as a
rather dowager queen.
 |
| Gerry Connelly as The Queen |
“The Eighth
Wonder” celebrates an achievement of operatic proportions. Opera Australia has created a production that does
both the opera and the achievement proud. Although site- specific, it’s a production
which should be relished by as many Australians as possible. Hopefully this
season will be the first of many revivals to allow that to happen.
This review also appears in AUSTRALIAN ARTS REVIEW . www.artsreview.com.au
