Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?

Chelsea Opera Group perform Verdi's first comic opera: Un giorno di regno

Until Verdi turned his attention to Shakespeare’s Fat Knight in 1893, Il giorno di regno (A King for a Day), first performed at La Scala in 1840, was the composer’s only comic opera.

A humourless hike to Hades: Offenbach's Orpheus in the Underworld at ENO

Q. “Is there an art form you don't relate to?” A. “Opera. It's a dreadful sound - it just doesn't sound like the human voice.”

Welsh National Opera revive glorious Cunning Little Vixen

First unveiled in 1980, this celebrated WNO production shows no sign of running out of steam. Thanks to director David Pountney and revival director Elaine Tyler-Hall, this Vixen has become a classic, its wide appeal owing much to the late Maria Bjørnson’s colourful costumes and picture book designs (superbly lit by Nick Chelton) which still gladden the eye after nearly forty years with their cinematic detail and pre-echoes of Teletubbies.

Rossini’s Il barbiere di Siviglia at Lyric Opera of Chicago

With a charmingly detailed revival of Gioachino Rossini’s Il barbiere di Siviglia Lyric Opera of Chicago has opened its 2019-2020 season. The company has assembled a cast clearly well-schooled in the craft of stage movement, the action tumbling with lively motion throughout individual solo numbers and ensembles.

Romantic lieder at Wigmore Hall: Elizabeth Watts and Julius Drake

When she won the Rosenblatt Recital Song Prize in the 2007 BBC Cardiff Singer of the World competition, soprano Elizabeth Watts placed rarely performed songs by a female composer, Elizabeth Maconchy, alongside Austro-German lieder from the late nineteenth century.

ETO's The Silver Lake at the Hackney Empire

‘If the present is already lost, then I want to save the future.’

Roméo et Juliette in San Francisco (bis)

The final performance of San Francisco Opera’s deeply flawed production of the Gounod masterpiece became, in fact, a triumph — for the Romeo of Pene Pati, the Juliet of Amina Edris, and for Charles Gounod in the hands of conductor Yves Abel.

William Alwyn's Miss Julie at the Barbican Hall

“Opera is not a play”, or so William Alwyn wrote when faced with criticism that his adaptation of Strindberg’s Miss Julie wasn’t purist enough. The plot is, in fact, largely intact; what Alwyn tends to strip out is some of Strindberg’s symbolism, especially that which links to what were (then) revolutionary nineteenth-century ideas based around social Darwinism. What the opera and play do share, however, is a view of class - of both its mobility and immobility - and this was something this BBC concert performance very much played on.

Cast salvages unfunny Così fan tutte at Dutch National Opera

Dutch National Opera’s October offering is Così fan tutte, a revival of a 2006 production directed by Jossi Wieler and Sergio Morabito, originally part of a Mozart triptych that elicited strong audience reactions. This Così, set in a hotel, was the most positively received.

English Touring Opera's Autumn Tour 2019 opens with a stylish Seraglio

As the cheerfully optimistic opening bars of the overture to Mozart’s Die Entführung aus dem Serail (here The Seraglio) sailed buoyantly from the Hackney Empire pit, it was clear that this would be a youthful, fresh-spirited Ottoman escapade - charming, elegant and stylishly exuberant, if not always plumbing the humanist depths of the opera.

Gluck's Orpheus and Eurydice: Wayne McGregor's dance-opera opens ENO's 2019-20 season

ENO’s 2019-20 season opens by going back to opera’s roots, so to speak, presenting four explorations of the mythical status of that most powerful of musicians and singers, Orpheus.

Olli Mustonen's Taivaanvalot receives its UK premiere at Wigmore Hall

This recital at Wigmore Hall, by Ian Bostridge, Steven Isserlis and Olli Mustonen was thought-provoking and engaging, but at first glance appeared something of a Chinese menu. And, several re-orderings of the courses plus the late addition of a Hungarian aperitif suggested that the participants had had difficulty in deciding the best order to serve up the dishes.

Handel's Aci, Galatea e Polifemo: laBarocca at Wigmore Hall

Handel’s English pastoral masque Acis and Galatea was commissioned by James Brydges, Earl of Carnavon and later Duke of Chandos, and had it first performance sometime between 1718-20 at Cannons, the stately home on the grand Middlesex estate where Brydges maintained a group of musicians for his chapel and private entertainments.

Gerald Barry's The Intelligence Park at the ROH's Linbury Theatre

Walk for 10 minutes or so due north of the Royal Opera House in Covent Garden and you come to Brunswick Square, home to the Foundling Museum which was established in 1739 by the philanthropist Thomas Coram to care for children lost but lucky.

O19’s Phat Philly Phantasy

It is hard to imagine a more animated, engaging, and musically accomplished night at the Academy of Music than with Opera Philadelphia’s winning new staging of The Love for Three Oranges.

Agrippina: Barrie Kosky brings farce and frolics to the ROH

She makes a virtue of her deceit, her own accusers come to her defence, and her crime brings her reward. Agrippina - great-granddaughter of Augustus Caesar, sister of Caligula, wife of Emperor Claudius - might seem to offer those present-day politicians hungry for power an object lesson in how to satisfy their ambition.

Billy Budd in San Francisco

San Francisco Opera’s Billy Budd confirms once again that Britten’s reworking of Melville’s novella is among the great masterpieces of the repertory. It boasted an exemplary cast in an exemplary production, and enlightened conducting.

OPERA TODAY ARCHIVES »

Performances

The Firework-Maker's Daughter [Source: Wikipedia]
04 Apr 2013

The Firework-Maker’s Daughter, London

The Opera Group’s latest event, The Firework-maker’s Daughter by David Bruce and Glyn Maxwell is currently on tour and arrived at the Royal Opera House’s Linbury Theatre last night (3 April 2013).

David Bruce and Glyn Maxwell: The Firework-Maker’s Daughter

A review by Robert Hugill

Click here for cast and production information

 

Composer David Bruce, whose previous operatic experience includes works for Tete a Tete, and librettist Glyn Maxwell (poet, novelist and author of three other operatic librettos) have created an operatic fable based on Philip Pullman’s book for children, The Firework-Maker’s Daughter. It is a typical quest fable, with Lila (Mary Bevan), the daughter of firework maker Lalchand (Wyn Pencarreg) going in quest of the mystical Royal Sulphur to help her make fireworks, because her father won’t teach her. She is helped by her friends, love sick elephant Hamlet (James Laing) and his keeper Chulak (Amar Muchhala) and there is a comic villain, Rambashi (Andrew Slater). As with all good quest fables, she learns that what she needed was what she had after all, her own courage and talent, and learns the value of friendship. Geoffrey Paterson conducted the instrumental ensemble, Chroma.

James Fulljames and designer Dick Bird along with the puppeteers Steve Tiplady and Sally Todd from Indefinite Articles created a magical production which produces brilliant effects (including fireworks) from very little. The two puppeteers were part of the hard working cast, taking the role of supers. Virtually all the effects were created with simple equipment, two over-head projectors featured heavily. They used a combination of effects, notably combing projection with shadow puppetry, but also involving the live cast in the shadow projection. The story culminates in a firework display competition, which was the cue for a series of dazzling visual effects.

Bird’s costumes were highly imaginative, with James Laing, playing Hamlet the white elephant, complete with elephant headdress and a very mobile (and very funny) trunk, but they combined this with projected visual effects to create Hamlet’s huge body — Hamlet is white so he has been covered with adverts! All the cast wore headdresses of some sort, which helped define the characters and as most singers played two or three roles, ensured that you always knew who was whom on stage. Most of the cast played multiple roles, and some even helped the puppeteers with the projections. James Laing doubled as the voice of the Goddess, Andrew Slater played both Rambashi and the King’s Elephant Keeper and Wyn Pencarreg played the King.

There was no fixed set, the instrumental ensemble were ranged round the back of the stage with lanterns above them, and the cast brought on everything they needed in boxes (plus a screen descending periodically from the flies). This wasn’t a production that could be done anywhere, it needed a theatre, but it was brilliantly conceived to be highly portable and not rely on anything too fancy. The result was mesmerising, a simply brilliant piece of theatre which mixed a wide variety of media into a charming and dazzling whole. No wonder the audience was pleased.

Bruce’s nine-person instrumental ensemble included an interesting mix of instruments (violin, bass, flute, clarinet, horn, accordion, harp and two percussionist), with a large amount of tuned percussion (plus one or two imaginative touches such as crumpling plastic bags). His sound world evoked Java, gamelan and the East (the rough location of the production), without being slavish. His orchestrations were magical and the sound world highly evocative.

Vocally there were some good set pieces, a rather jolly and catchy song for the pirates and some beautiful solos for Mary Bevan as Lila, including her gorgeous final incantation which was a long wordless cantilena. The result was very creditable and effective, but there were too many moments when the music seemed useful rather than really catching fire. From my perspective I felt that the biggest weakness was the recitative, this seemed to jog along quite comfortably without ever quite being memorable. This was when I felt the lack of a child companion to ask. I thought the work would have been stronger if they’d used spoken dialogue with instrumental under lay.

The piece rather ran out of steam towards the end. The firework competition was done like a game show, with a profoundly annoying host played by Andrew Slater, but then I’m not a watcher of such TV shows as the X-Factor.

With a production which was so strong, so brilliant, the score could quite easily have been edgier. Bruce’s writing was magical at times, but never challenging and seemed simply a little too comfortably well made. There were moments when the music need to raise the emotional temperature, make your spine tingle and it just didn’t quite; there was too much concern to be easy and accessible. I have seen Bruce’s work with Tete a Tete and it was fun and quirky. I hope that he gets chance to re-visit this work to give the music a little more personality, perhaps he should stop worrying about whether or not it was written for children.

I cannot praise the cast too highly, both for their dramatic and musical performances. Not every new opera can have been blessed with such strong musical presentation. Bevan was simply superb as Lila, which was quite a big role being on-stage for much of the time. Bruce’s high writing didn’t phase her and she always sounded beautiful, with a lovely sense of line. Laing was delightfully deadpan as Hamlet, and nicely expressive in his love-sick moments. Pencarreg was a sympathetic but tough father, keeping the character appealing and Amar Muchhala made Chulak very much cheeky, streetwise but appealing. It was Andrew Slater who got all the plumb comic moments, and he showed himself a fine comic.

The instrumental ensemble under Geoffrey Paterson produced a sequence of gorgeous sounds and fitted into the total theatrical ensemble with aplomb.

Ultimately, I thought that anyone attending this would be entertained, magically delighted and even mesmerised, but not challenged in any way. I am not entirely certain whether Bruce and Maxwell convinced me that this needed to be an opera

Robert Hugill

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):