Reviews
Melbourne City Opera celebrated its silver anniversary with five performances of Georges Bizet's CARMEN at Melbourne's Princess Theatre in May 2004. Founded in 1979-as Globe Opera' - the company has produced many operas and operettas in Melbourne and throughout regional Victoria in its 25 years of operation. The aims of MCO remain the same today as they were when Globe Opera was first conceived: to present quality opera to Victorians at affordable prices, and to provide opportunities for young artists to learn their craft alongside more experienced performers. One does not attend an evening with a small opera company expecting the 'ultimate opera experience'. This is not La Scala or The Met, and nor does it pretend to be. We go to see MCO because we enjoy opera, and because we appreciate the opportunity to see a live production wbich showcases young and emerging talent. And - if we have followed the history of this particular small opera company for 25 years - we also go to see MCO because we admire and support the principles on which it is based, and want to see it continue and prosper. If Opening Night - 15 May 2004 - is anything to go by, the future is not in doubt. Always a popular opera, CARMEN has been filling venues for 130 years. Under the artistic direction of founder, Dr Joseph Talia, the MCO delivered a very creditable performance. In the title role, South African soloist Sue Braatvedt presented a powerful Carmen demonstrating impressive acting skills as well as her internationally recognised singing skills, Sue handled the role comfortably, and looked thoroughly convincing as the bold temptress. Greater subtlety, however, is necessary in the characterisation of Carmen, if the impression of total wantonness is to be mitigated. Braatvedt's interpretation was consistent, and enjoyable; but it is in the nuances that Maria Ewing (Royal Opera Company, 1991), for example, or Julia Migenes, create sympathy for the character. As Don Jose, Lawrence Allen was no match for Sue Braatvedt's Carmen. A big role, Don Jose demands a bigger voice, and a more commanding presence, than that delivered by Lawrence Allen, whose general demeanor throughout was rather too laconic to he convincing as a hot-blooded Latin. The restoration of the spoken dialogue in this production did little to enhance the characterisation of Don Jose, who sounded like an actor in a production of 'On Our Selection'. To be fair, it must be conceded that Don Jose is not the easiest of leading roles; even when played by a real Latin, and at full volume. he is still so pathetic that one wonders why any woman would he interested, apart from his mother. Gary Rowley found the right balance between elegance and sleaze in his characterisation of the toreador Escamillo, and Martha George gave a fine performance in the role of Mercedes. But the vocal performance which really stood out - and the one voice among the cast which can truly be said to be world class - was that of Lisa Anne Robinson. As Micaela, this young lady was simply superb. One of the best things about small productions like this one (as compared with the big name productions with ticket prices equivalent to a couple of hectares of a sizable sheep station) is the potential for surprise - the chance to be present at a special moment in someone's career and experience that frisson of excitement, that no program notes or publicity campaign can predict. 'That girl has a big future' observed a guest at a wedding in NSW, in 1950-something, after hearing a teenager called Joan Sutherland singing a number from the standard wedding repertoire. At the end of the show, Lisa Anne Robinson's was, deservedly, the loudest and most enthusiastic applause. The Melbourne Boy Singers were in fine voice, and delivered some delightful moments in little background tableaux, along with the older members of the chorus. Under the baton of principal conductor Erich Fackert, the MCO orchestra produced a very tight, sharp and balanced musical performance. In Nick Merrylees, the MCO has a first-class lighting engineer. However, in terms of the other visual elements - sets and costumes - there is a need for a more integrated approach. Bizet's CARMEN, in the 'verismo' tradition (of which Puccini was the greatest exponent), takes its theme from real life, Too much prettifying is therefore not in the spirit of the original. The 'big production number' treatment, while satisfying an audience taste (whether real or perceived) for spectacle, is not ncccssarily appropriate, and the danger of descent into parody is a consideration too often overlooked. There is no doubt that a red head-scarf, for example, is decorative and eye-catching; but too many of them, unfortunately, looks like a job lot from the 'Spanish Drag' section of the MGM wardrobe department. 'I'hc overdoing of the costumes in this production was in sharp contrast to the underdoing of the sets. Marck Setford had the right idea here, but there was simply not enough of it. More emphasis on set design and less on costume would have resulted in a better balance. (Overstatement plus Understatement does not equal Statement!) As a visual representation of 1820's Seville, neither offered much in terms of historical verisimilitude. For all its imperfections, however, the MCO's CARMEN was immensely enjoyable. Given the obstacles which the company has had to overcome, that it can continue to deliver opera in the quantity, variety, and quality, that it does is in itself a commendable achievement. Imagine what could be achieved by this dedicated team if the bite of budgetary constraints could be rendered less potent! |