Orpheus in the Underworld, Opera Danube

Orpheus and Euridice (Telegraph website)

A fun and cheeky production of Offenbach’s witty opera - Orpheus in the Underworld - was put together by the young and emerging opera company of Andrew Dickinson, Opera Danube, with direction by Simon Butteriss. Having performed a variety of operas including the brilliantly sung Die Fledermaus (link here), they lit up St John’s Smith Square’s semi-stage with the accompany of the great Orpheus Sinfornia – they too represent a young collective of enthusiastic artists and musicians. Pushing the music forward was music director, Oliver Gooch. He demonstrated an intelligent take of Offenbach’s music that is deeply entrenched with a kaleidoscope of genres from baroque, classic and Can-Can music. The Orpheus Sinfornia gave a fiery performance as they warmed to the the soloists’ playful stamping around the stage to double entendres and highly energised Can- Can dancing.

Orpheus in the Underworld (Orphée aux enfers as it is called in French) is an interesting comedy opera that isn't all about the usual big voices, grand music and happy ending. Taking the original Greek mythology of Orpheus and Eurydice - where the virtuoso lyre musician bargains with Pluto to release his wife if he promises not to look at her on their way out of hell, but sadly fails - here Offenbach turned the gods and goddesses on their head and made them mortals - and for the 19th century that was a pretty big deal! This was Offenbach’s way of saying up yours to traditional opera by making men of authoritative figures; it was also another way to please the audience. This satirical opera made such an impact that Parisians were flocking to grab a ticket, despite scathing reviews condemning it. Without a doubt there are echoes of Gilbert and Sullivan but, in fact, their operas were inspired by Offenbach through their manager, D' Oyly Carte; and it was he who introduced Offenbach's operettas to England first.

Back at St John's Smith Square, the setting was giddy and childish with the deities dressed in onesies and pyjamas under the watchful eye of mama and papa, Juno and Jupiter. Its director, Butteriss, inhibited two roles: the witty and showbiz-like narrator, and the unfaithful Jupiter, with easy transition. Kathy Steffan displayed a tough goddess, nursing both her super kids and adulterous husband. Matthew Buswell had a great time playing the role of Mars as well as the dog eared Styx who ends up falling in love with Eurydice. William Morgan displayed a narcissus of Orpheus, and Emily Vine's Eurydice was bright-eyed, vocally strong and a wonder to watch. Sweet, cute and joyful, her appearance seemed close to the human version of Elsa from Disney's Frozen, making her the most likeable character. Much praise is also due to Tristan Stocks (Mercury), Felicity Buckland (Cupid), Hannah Sawle (Diana) and Jan Capinski (Pluto) for their gung-ho acting and vigorous singing.

Gooch and the Orpheus Sinfonia did justice to Offenbach's sophisticated music which was enjoyable to hear, and something I'd like to hear again, yet while watching this production it was hard for me to break out of the Gilbert and Sullivan foil. Ridiculously funny as it was, it deserved to be staged elsewhere at other fringe opera venues such as a pub theatre where younger audiences would relish such silly, comedy antics compared to the usual attendees at the Square who would have appreciated more clothes on. Nonetheless, it was an enjoyable feast for the Sunday matinee crowd including the children, and I, in the audience.

For more information about Opera Danube, click here. 

Or click here for information on St John Smith's Square and other concerts they are showing. 

Click here for my review of opera danube's die fledermaus

http://trendfem.blogspot.com/2014/10/opera-danubes-die-fledermaus-at-st.html

Cheeky, energetic & animated. @OperaDanube's #Orpheus makes you want to do the can-can! #Offenbach @StJohnsSmithSq pic.twitter.com/mJ8b6xFm66

— Mary Grace Nguyen (@MaryGNguyen) January 31, 2016

Fine,light-hearted playing from @OrpheusSinfonia.Bringing #Offenbach's music to life.Now I'm hooked @StJohnsSmithSq pic.twitter.com/e4vf5RY14a

— Mary Grace Nguyen (@MaryGNguyen) January 31, 2016

The Best Operas of 2014

By Mary Grace Nguyen

2014 has opened the doors for the opera world. Many things have happened this year with opera houses, opera companies and its singers. There was the wave of new productions, new operas and revived ones. When it was announced that the Arts Council (ACE) would be cutting their funding for the ENO all eyes turned on them – what was happening to the nation’s opera house?

Fringe festivals and community productions were also sprouting around the UK and attempting to make their stance on the debate on opera elitism whilst live screenings (and cinemas) were also playing a role in eliminating the stigma that opera was only suited for the affluent and older audiences. And let's not forget the contentious dispute surrounding 'dumpygate' and arguments about the validity of booing in the auditorium.

It was also a good year for tenor Jonas Kaufmann’s career; he received much media attention for his demand in prestigious concert halls and many international opera houses; yet his personal life, illnesses and countless cancellations was cause for concern (one which we won’t discuss here).

Having re-evaluated my list of operas this year (which is ballpark 60), I’ve had to think long and hard about the operas which moved me, educated me and presented the best combination of sound and voice for composer’s work. NOTE: I haven’t listed all operas I’ve seen this year simply because it’s a long list. I’ve nominated a selection of the top operas here.

Best Opera of the Year – Girl of the Golden West (ENO) Review here

Best Cast – Manon Lescaut (Royal Opera House) Review here

Best Cinema Screening - Macbeth (Met Opera)

Best Small-scale production – Werther (Grimeborn Festival) Review here

Best Experimental – Glare (Royal Opera House) Review here

Most Controversial – Anna Nicole (Royal Opera House) Review here

Best Semi-stage – Salome (BBC Proms) Review here

International – Die schweigsame Frau (Bayerische Staatsoper) Review here

Most Entertaining – Benvenuto Cellini  (English National Opera) Review here

Most Moving – Tristan und Isolde (Royal Opera House) Review here

Best Baroque Opera – Orpheus and Eurydice (Rose Playhouse Theatre) Review here

Worst Opera – Xerxes (ENO) Review here.

Best Opera of the Year – Girl of the Golden West (ENO)

ENO pushed it up a notch with its strong cast, including chorus and Susan Bullock, and an equally entertaining stage vibrantly conducted by Keri-Lynn Wilson. Puccini’s champion Western Opera deserves the first prize for opera of the year and its thanks to the ENO for executing the romance and pizazz. Must have been all that American liquor! Review here. 

Best Cast – Manon Lescaut (Royal Opera House)

Kristine Opolais as Manon, Jonas Kaufmann as Des Grieux, Christopher Maltman as Manon’s brother and Maurizio Muraro as Geronte... need I say more? It was a great combination of artistry and vocality on a somewhat awkward stage, as viewed by some who booed on its premiere night. Forget about Jonathan Kent’s production for a second and imagine what it would have sounded like on a semi-staged performance with Pappano– sublime! Review here

Best Cinema Screening - Macbeth (Metropolitan Opera)

Viewing an opera screening is one solution to seeing operas based abroad or productions that sell out. Cameras focus in on singers, their facial expressions and pan along the stage which give audiences a glimpse of the detail. Anna Netrebko and Željko Lucicas as Macbeth were an excellent match for Verdi's opera, and equally on screen, and the Met’s staging brought out the colour and mysticism of Shakespearean’s sinister drama. Note: If you’re going to see an opera on screen make sure it is big!

Best Small-scale production –Werther (Grimeborn)

A piano, the language of love, the tragedy of unrequited love, Adam Tunnicliffe as Werther, and Katie Bray as Charlotte brought all the magic and flood of tears to the Arcola theatre. It was the best thing I have seen at Grimborn Festival this year. Review here

Best Experimental – Glare (Royal Opera House)

This edgy opera by contemporary music composer Soren Nils Eichberg with CHROMA and direction from Strassberger is an eye-opener. It broke barriers, challenged norms and tried to grapple with Sci-Fi questions about ‘being’ which was nicely mashed up with high-definition electro music. One of my favourites from the Royal Opera House. Review here 

Most Controversial – Anna Nicole (Royal Opera House)

I don’t want to give Martin Kusej any credit for Idomeneo (not even for the worst opera of 2014) yet Anna Nicole gave students, new and current operagoers something to talk about. Although a revived production the staging looked new - the opera went full throttle from over the top, trashy yet glamourous at the same time. Anna sung by Westbroek had all the acting appeal and didn't disappoint audiences yet the question still needs to be answered - does it deserve to be performed in  the Royal Opera House and not anywhere else? i.e. West End. Review here 

Best Semi-stage – Salome (BBC Proms)

I remember the chills on my back from Strauss’ music which was dynamically conducted by Donald Runnicles with the Deutsche Oper Berlin orchestra. It included a tight cast with Doris Soffel, Burkhard Ulrich and tenacious Nina Stemme as our menacing sadist. It was a sold out event and no one left dissatisfied.  Review here

International – Die schweigsame Frau (Bayerische Staatsoper)

It was my first time at the Bayerische. Die schweigsame Frau is regarded as one of Strauss’ obscure operas and without English surtitles I managed to get the gist of the underlying message from Stefan Zweig.  The hilarious list of characters, multiplicity of diverse costumes and creative staging ticked my boxes. Review here

Most Entertaining – Benvenuto Cellini (English National Opera) 

Terry Gilliam has the upper hand: he is a film director after all. The Fear and Loathing in Las Vegas director has an eye for entertaining. Berlioz’s opera isn’t the most intriguing yet Gilliam got a parade going, had the punters gagging for more and turned the ENO auditorium into a party. Review here

Most Moving – Tristan und Isolde (Royal Opera House)

First came stage theatre, then technology with its acoustic speakers and visual projections. Now we have 3D imagery in cinemas, which is how I experienced Tristan und Isolde. It was the next level to opera – a sensory overload of emotions. Loy’s staging allowed Wagner's libretto, the ROH orchestra, Pappano, Gould, Connolly and more importantly Stemme to take centre stage for the audience and get a peek of Wagner's secret love for his muse Mathilda. Review here 

Best Baroque Opera – Orpheus and Eurydice (Rose Playhouse Theatre)

How best to depict Orpheus entering the underworld but in a cave. Luckily for director Pamela Schermaan she found her haven in the Rose Playhouse Theatre and took advantage of the dark excavation area. Sorrowful voices projected from the edges of this cavity with a humble quartet to heighten the romance of Gluck's much loved opera. Review here. 

Worst Opera- Xerxes (ENO)

Opening aria by Alice Coote welcomed the opera on a high which unfortunately went downhill thereafter. I wonder how I managed to endure the agony. The staging was static and even though Handel’s music was happening, the ENO stage just wasn't. Xerxes could have been more interesting but it seems that this production failed to find the solution. Review here.

List of operas I saw this year and I had to make some tough decisions.

Orpheus and Eurydice to celebrate Gluck's 300th anniversary at the Rose Theatre ****

Pamela Schermann, international opera and theatre director has teamed up with the young and diverse theatre company, Time Zone Theatre, to produce Christoph Willibald Gluck’s most popular and reformed opera, Orpheus and Eurydice at the Rose Theatre, which also celebrates Gluck’s 300^th anniversary.

Schermann says, ‘…which other venue could have provided me with an Underworld like that…?’  And the audience couldn’t agree more. The Elizabethan theatre that has been undergoing construction since 1989 has proven theatrical zeal and potential. The cave-like pit, which is covered with water to avoid cracks from developing, is an ideal replica of a River Styx.

Gluck’s 18^th century operatic vision of the Greek mythology was grounded on placing emphasis on the simplicity of both music and drama to accompany an uncomplicated plot and given how small the Rose theatre is, it delivered a close and personal show with singers (and choir ensemble) with captivating music with the use a humble quartet. Violinist (Julian Fish), flutist (Hannah Grayson,) harpist (Anne Denholm) and pianist (as well as conductor), Andrew Charity gave a performance that made eyes lock onto their instruments which is a rarity in traditional auditoriums where orchestras are hidden in the pit.   

Lyric Tenor, Robin Green who was Orpheus, had a chest infection this evening, yet given the circumstances did his best to enthral the audience. One can only imagine how fruitful he would sound on a better day. Gluck warned that for any singer casted as Orpheus, they faced the challenge of counteracting dullness that can easily settle with the opera’s harmonious music; by nature, the songs do not sound mournful. The expressive recitatives used in ‘My sad complaining’ and ‘I have lost my Eurydice’ were beautifully sang by Green, however there was no need for him to sing whilst putting clothes on at the end of Act 1 where his vocals were clearly struggling. 

The talented Latvian Soprano, Darja Scukina as Amore, is our cheerful cupid with fluffy black wings. Schermann implements a community choir to play the eight members of the Furies who at first say ‘No! No!’ to Orpheus' plea yet once sweetened, Green slowly unveils them as they sing, ‘we are subdued… let him into hell’ which in done in a rather ironically pleasing way considering that no one, in real life, would want to go to hell.

The dark excavated area of the Rose is taken fully advantage of by the singers, Green and Mimi Doulton (Eurydice) who although positioned far from the audience, and the quartet close by, gives vocal clarity and sharpness which resonate from both directions. Doulton has a robust voice and when confused of her husband’s actions sings unrelentlessly and provides a heart-wrenching feast. The soprano Olivia Doutney despite having a small choir part proved to have potential as well.

The stage ends with the trio song between the lovers and Amore whilst offering cake to the audience to portray a celebratory union. With clever co-ordination of the Rose theatre’s space, musical simplicity and gifted singers and musicians, Schermann’s direction has proven to execute Gluck’s love story so well that it whisks romantics off their feet.  

This production has ended but please click Here for more information on the Rose Theatre.