Past Production Reviews
3Finally liberated from the solitude of our lounge rooms and Netflix subscriptions, sitting in Melbourne’s Regent Theatre shoulder-to-shoulder on Wednesday night felt like a forbidden treat. The palpable exuberance of being back on the town, though, was tempered by a profound appreciation of our delicately privileged position. As the first major opera performance in Melbourne after a protracted Covid shutdown of the live performing arts, Melbourne Opera’s Das Rheingold marks an important moment in the cultural life of the city – the beginning both of Richard Wagner’s Ring Cycle and of a new chapter in the living operatic history of Melbourne. Wagner’s complex works are rich in symbolism and metaphor (both musical and dramatic). The specific symbolism of Rheingold at this moment possesses a certain relevance, if not gravitas. Against the backdrop of a disease spread from animals to humans, and with fires raging in Western Australia, an ancient story about the pillaging of natural resources in pursuit of wealth and power is not without its modern-day parallels.
It’s a paradox of truly operatic proportions. How can a 152-year-old work that’s largely about the end of all days feel timely and ultimately uplifting?In Das Rheingold, the first of four operas in his epic Ring Cycle, Richard Wagner’s evocative score allows the observer to escape into a world of myth and magic, while the plot parallels many aspects of life as we currently know it. At the opening night of Melbourne Opera’s new production there was also a sense of community reunited. Togetherness long missed, by artist and audience alike. Wotan (Eddie Muliaumaseali’i) and Fricka (Sarah Sweeting). Wotan (Eddie Muliaumaseali’i) and Fricka (Sarah Sweeting).CREDIT:ROBIN HALLS At its most fundamental, the Ring Cycle is about an all-powerful ring, the creatures, gods and men who wish to possess it and the impending doom that will consume them all. Rheingold follows Alberich, a dwarf, who steals gold from the depths of the Rhine and fashions a ring from it, and the god Wotan’s pursuit of the ring. As the slimy Alberich, baritone Simon Meadows gives the standout performance of the night and his career. Consistent character and impeccable German text sung over a 90-piece orchestra is no mean feat! MO stalwart Eddie Muliaumaseali’i (Wotan) proved he has the booming voice and gravitas to portray the king of the gods. Of the all-Victorian ensemble, James Egglestone (Loge), Michael Lapina (Mime) and Sarah Sweeting (Fricka) are superb. As is often the trap in portraying otherworldly beings, some of the gods appeared stiff and one-dimensional, though Roxane Hislop’s Erda is extremely memorable, both for her rich, commanding voice and how her scene is mesmerisingly designed. The overall concept is director Suzanne Chaundy’s finest to date. The entire creative team is to be commended for this clever, slick and stunning realisation.
In this, the 250th anniversary of Beethoven's birth, concert halls around the world are bursting with his music. And rightfully so. Possibly no other composer took from the past and gave to the future like Ludwig. Melbourne Opera begins the city’s main-stage season with his only opera, Fidelio.In Seville, the jailor’s daughter Marzelline has fallen for a newcomer, Fidelio, who is actually a woman in disguise. The story follows the woman, Leonore, as she attempts to free her husband, Florestan, a political prisoner of governor Don Pizarro. The fight for justice was reflected by political life during the Napoleonic occupation of Vienna in the early 19th century, when Fidelio premiered. This opera is not flawless; some of the vocal writing for Leonore and Florestan is utterly merciless and the spoken dialogue can be a bit naff. Thankfully, the score is magnificent. As Marzelline, Rebecca Rashleigh is a perfect Mozartian soprano. She’s sweet and sassy, her voice is even with a ringing, clear top. Adrian Tamburini brings austerity and commanding vocal presence to father Rocco. As the maniacal Pizarro, Warwick Fyfe’s booming baritone comes walloping out into the Athenaeum auditorium. Fyfe also has the greatest success with spoken German dialogue. Bradley Daley, as Florestan, is in absolutely superb voice. Opening Act II on a high G, lying on his stomach no less, Daley starts strong and his hugely impressive tenor never falters. The audience is required to wholeheartedly invest in the title character’s struggle and celebrate her steadfast loyalty in the face of oppression. Young dramatic soprano Kirstin Sharpin certainly has the voice, though her characterisation didn’t quite convince in portraying unfaltering conviction and bravery. What a coup the relationship between Anthony Negus and MO is for Melbourne. His intelligent conducting is incredibly spirited, yet exact and emotive. The orchestra follows him to the hilt, the famous Leonore 3 overture was rapturous. It’s also the best singing you’ll hear from the Melbourne Opera chorus. One of the most transcendental moments in all opera is Fidelio’s Act I quartet, where Beethoven’s mastery shines. And it did so here, Negus controlling a perfectly balanced ensemble, where the theme was gently, respectfully passed from one voice to another. The orchestra was deftly woven throughout, playing with passion and purpose. If the rest of Beethoven’s birthday celebrations are this affecting, Melbourne is in for a year-long party to remember.
