Hull New Theatre – 26 October 2017 and on tour around the UK. Reviewed by Michelle Richardson
4****
Following its £16m refurbishment, in fact almost completely rebuilt, Hull New Theatre is hosting Opera North’s festival of short operas. After more than a decade, Opera North returns to Hull New Theatre with a festival of The Little Greats. The Leeds company are presenting five brand new productions in innovative double bills and a family-friendly matinee. We were there on the first night to see Pagliacci and Cavalleria Rusticana.
Pagliacci
4****
We start with Pagliacci and are introduced to the production by Richard Buckhard (Tonio), singing in English with a picture of the ensemble as a backdrop, before the curtain goes up. It is then set in a modern rehearsal room, where we see the first day of rehearsals, culminating in the final run-through. Fascinating idea of having a production within a production, with all the main protagonists involved. Using the production as a backdrop, we get to see the complicated relationship between husband, Canio (Peter Auty), wife, Nedda (Elin Pritchard), lover, Silvio (Phillip Rhodes) and would be suitor, Tonio. This worked really well and added to the tense build up to the shockingly brutal conclusion, as is befitting of a tragedy that opera is famed for.
Auty gave a powerful and emotional performance with his wonderful portrayal of the controlling but ultimately betrayed husband. We see his character’s psychological deterioration leading to increasing anger and eventual psychotic rage. A seedy Buckhard was convincing with his spurned advances leading to malevolence. His sinister appearance towards the end of the production, completed simply with face paint, reflected Tonio’s simmering bitterness at rejection. Pritchard played her part wonderfully, provocative, sultry and seductive, with a stunning vocal performance to match. Rhodes is understated as the lover and had a lusciously seductive base line. Stuart Laing stood in as the understudy for Pepper and unfortunately his voice just wasn’t powerful enough, at times being drowned out by the orchestra and other cast members.
Cavalleria Rusticana
3***
With a 1970’s drab, stark set, this is a story of love, portrayal, recompense and finally, accepted retribution.
The initial introduction of the characters and plot line a was a little unclear and confusing, almost like a basic prologue presuming audience’s prior knowledge. I certainly felt it took some time to be drawn into the production. However, as the piece developed I finally found myself being drawn in and becoming mesmerized by the subdued staging, which included a tiny Fiat car, powerful religious symbolism and repressed tone of the ensembles singing.
The story unfolds with increasingly powerful performances by the lead cast members. Santuzza (Giselle Allen) is seduced by Turiddu (Jonathan Stoughton), who is having an affair with Lola (Katie Bray), who is married to Alfio (Phillip Rhodes). Moments of pathos are interspersed with periods of revulsion and betrayal, but with occasional unexpected periods of humour.
The brutal finality of the finishing scene made my heart pound especially because of Turridu acceptance of his fate as recompense for his past behaviour.
After a simmering start Allen gives such a powerful portrayal of a devoutly religious girl, used and betrayed, that it is heart wrenching. Certainly the stand out performer, what a voice! Bray’s character was at times strong and seductive, but at others vulnerable and delicate, lost in her marriage. She gave a lovely vocal performance but a little weak at times. Rhodes took us on an emotional rollercoaster and I was amused that he would continue to clean his car after hearing of his wife’s infidelity. Stroughton gave a strong vocal performance but at times I wasn’t sure if he was brooding, supposed to demonstrate sexual energy or was just plain moody.
The choreography and vocals, often to be heard from behind the scenes, maintained the mood and tension of this piece.
Both operas were greatly supported by the ensemble cast. Tobias Ringborg and the orchestra were absolutely fantastic, capturing the intricate plot line of both operas
The operas are sung in Italian with translation given on two screens to the side. This was done inconsistently at times and the position was too far peripherally making it a dizzying experience, and also distracting away from the performances on the stage.
This was my very first outing to an opera, or in this case operas, and hopefully not my last. These short operas are ideal to give novices like me a taste of what opera is all about. I was shocked and pleasantly surprised about how affordable the tickets are. Go on give it a go, you can’t afford not to!