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Mozart Don Giovanni Ryan Theatre , Harrow-on-the-Hill, 28 June 2005 At five years old, Opera East Productions has truly come of age and is showing its mettle in a new touring production of Don Giovanni. Touring requires simplicity, and there was a single basic set consisting of at times slightly wobbly, dark brown panelled columns, equally serviceable as exterior or interior. The opera was performed in Tom Burke's reduction and Amada Holden's witty translation, of which almost every word was audible in the small space of the Ryan Theatre. Gooch's meticulous musical preparation is key, and his sensitive conducting brought out every nuance in the score. He has wisely chosen a cast of singers whose own careers are just starting to blossom. The direction (Alastair Boag) had been kept deliberately light to allow them to develop their own characterisations. In the title role, William Berger (currently on ENO's Young Singers Programme), gave a finely observed performance, being in turn charming and seductive, scheming and vicious, and ultimately meeting death with bravado. His singing was equally stylish, the serenade in particular was beautifully phrased and coloured, with Ali Stephens playing the mandolin in costume on stage. James Robinson was a younger and less hard-bitten Leporello than we often see, almost winning our sympathy at times. He has a natural instinct for comedy, and his well developed bass baritone and good diction ensure that he gets the words across. The ladies were well contrasted, Madeleine Shaw (who had taken part in OEP's first production) as Donna Elvira, Katri Paukkunen a vengeful Donna Anna and, as Zerlina, Catrin Johnsson gave us some moments of beautiful creamy singing. Ed Lyon has one of the most elegant tenor voices I have heard recently, and he took full opportunity to show it off in Don Ottavio's big numbers. Andrew Kidd, Masetto, used his height to convey just the right touch of ungainliness, and as Commendatore, Robert Anderson had more than enough voice and stage presence. The long, picnic interval was literally a wash-out, but there had been more than enough sustenance in the musical fare provided for the audience to leave fully satisfied. From 2006 year, OEP will have a permanent base at the Cambridge Arts Theatre, and further development is promised. Don Giovanni - Pavilion Opera
As well as public performances there have been private ones in country houses and since 1992 work has expanded to bring live opera to 2,500 children a year in inner city primary schools, and there can surely be no more demanding an audience than that. The show is presented in the round to close up spectators and the action has to be skilfully tailored to the space available to them. There is no backstage, and whilst waiting to take our seats, it was part of the performance to see props being lined up and Ribena carefully diluted to give an authentic red wine appearance. Operas are produced in the original language (no surtitles here) so there is plenty of energetic action to get the plot across. Piano accompaniment was provided by Musical Director Peter Bailey, and although there were fairly severe cuts to restrict the timing the character of the piece was well maintained. The baritones produced the best of the singing on the night. In the title role and scarlet frock coat, Edmund Connolly looked every inch the dashing nobleman ready to sweep every women in sight off her feet. He is an intelligent young singer, with a nice clean vocal line and whilst he has the good sense not to push his voice further than it is ready to go at present, he managed to convey rather more than a hint of how his interpretation is likely to grow. Andrew Foan was a street-wise Leporello, who has mastered the art of recitative and extracted each inch from the drama. Martin Lamb was a feisty Masetto, with a strong voice and a clarity of diction that would set an example to many. The company has a generous rehearsal period backed up by vocal and language coaching, choreographers, fight arrangers etc, but for me, the hallmark of the evening was the apparent freshness and spontaneity of the performance. Maybe it's due to the diversity of the venues they visit and the team spirit involved: certainly the singers clearly enjoyed the challenges of the evening and carried that enthusiasm to their audience. Serena Fenwick
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The company was founded five years ago by its Artistic Director, Oliver Gooch, whose own burgeoning career has fast-tracked him during the same period from the Guildhall School of Music, to National Opera Studio, and on to the Royal Opera House's VYAP as Assistant Repetiteur, a post specially created for him following "an exceptional audition". He has also studied with Seiji Ozawa (at Tanglewood) and Sir Colin Davis, who is now OEP's Patron.
2005 is also a milestone for Pavilion Opera, being its 25th season. With Freddie Stockdale at the helm, it has toured throughout the UK and to 20 overseas countries during those years, often boldly going where no opera company has been before .