ELIZABETH MACONCHY Independent Opera at The Lilian Baylis Theatre, Sadlers Wells, London EC1 The Departure Dominic Wheeler – Conductor Elizabeth Maconchy’s birth centenary year has awakened new interest in her music, and particular her vocal writings. It fell to the enterprising Independent Opera Company, now in its third season, to present a double bill of her operas which, with demand vastly outstripping the capacity of three performances at the Lilian Baylis Theatre, has certainly been the hottest ticket in town this week. The Sofa was premiered in 1959 and The Departure in 1962, and it is worth sparing a moment to consider the literary scene around that time. In today’s more openly permissive society, director Alessandro Talevi clearly felt that a far greater degree of animation was required to re-create the atmosphere of a wild 1950’s party. I don’t know how many props were involved, but an extensive display of period bric-a-brac and countless bottles and glasses (the aluminium beer cans were clearly out of place) filled every available inch, and partygoers indulged in non-stop revelry even when not directly involved in the action. I would have preferred a little less, as it tended to distracted from the gorgeously bubbly score, fizzing with invention, and parodying joyously from wide ranging musical sources. Maconchy wrote so well for voice, and her work was done full justice by seriously good singing from all the cast. I have listed the members of the Ensemble since they took a full part in both singing and acting, and the extended chorus “Dominic is missing” was one of the most impressive pieces of singing and staging of the evening. All the principals gave of their outmost. Josephine Thorpe as the witchlike grandmother faced the toughest vocal challenge, spitting out her incantations with precise venom. Alinka Kozari, Anna Leese and Patricia Orr produced a blend of voices of considerable beauty whilst romping drunkenly on the sofa – and Nicholas Sharratt, silenced for much of the time by his transmogrification, used every gesture and expression to compensate. Sarah Tynan (pictured with Nicholas Sharrat) displayed all her wiles as the flighty Monique, and George von Bergen was suitably Sloaney as the blood-sport crazy Englishman. An extended interval allowed the stage to be re-set and the audience to clear their minds a little for relative tranquillity of The Departure. It’s a much darker hued piece, with richly harmonic orchestral textures complemented by an offstage chorus. Louise Poole, as the wife who slowly realises she is dead, has an immense emotional journey to make as well as negotiating a vocal score of exceptionally wide range. Hakan Vramso, as her bereaved husband, brought appropriately weighty poignancy, and their duet as they relived happier memories was heart rending. The orchestral playing was excellent throughout, with Dominic Wheeler in lively control, and mention should also be made of Natalie Murray who had obviously done sterling work as Vocal Coach and Assistant Conductor. Serena Fenwick This event polarised critical responses: And finally, see too 2. Maconchy Centenary concert at GSMD [Editor] Photo credit: Robbie Jack |