I go to some LOCAL OPERANovember 24, 2014 at 8:56 pm | Posted in music, reviews | Leave a comment
Tags: Coronation of Poppea, countertenors, emilie renard, fangirling, james laing, katherine manley, L'Incoronazione di Poppea, lowry, monteverdi, music, opera, opera north, review, sandra piques eddy, sex, SFW, violence
Now, you’ll remember my trip to the Barbican to see what is known in Opera North circles as The Other One. The prospect of seeing Poppea fully-staged was exciting, not least because I could pretend to be a Proper Critic and do oh-yes-well-the-last-production-of-this-I-saw and all that. Gosh! I packed my notebook and practised my Serious Opera Expression.
The Serious Opera Expression didn’t last long once I met Mary, who’d answered my twitter plea for a partner-in-crime. Like all the best people, she turned out to be crackers, and we got on immediately. We stuffed ourselves with pizza and repaired to the Upper Circle in a state of high excitement, pausing only to chat to a Professor of Child Language I used to work with [name-drop face].
Here’s a quick quiz to refresh your memory. Poppea is a tale of (tick all that apply*):
□ Blood □ Guts □ Loyalty □ Betrayal □ Manipulation
□ Power □ Lust □ Revenge □ Love □ Social climbing
This production committed itself to exploring these themes in loving detail. The opening scene set the tone for the evening: Virtue, Fortune and Cupid debated their relative power over mortals against a backdrop of wine-drinking, guffawing and lurid snogging. They then settled back in cinema seats to munch popcorn as a Tarantinoesque evening of bloodletting, gun-waving, knife-wielding and sex unfolded.
The shockwaves caused by Nerone’s infatuation were tangible, and as the opera was sung in English, it was easy to become immersed in the action (even if rhyming ‘strumpet’ with ‘crumpet’ did raise a few titters from the audience). The staging made clever use of a small set of flexible props. I particularly liked how Bloody Marys symbolised Ottavia’s despair, and her dismissal by Nerone; at the end, a fridgeful of jugs of the stuff portended the carnage to come.
Did I mention the sex? GOSH. I mean, PHEW. Nerone is usually sung by a soprano, but James Laing’s countertenor suited the role perfectly, and he was a rangy, rakish emperor, louche and petulant by turns. He and Sandra Piques Eddy’s pulchritudinous, silk-clad Poppea were gloriously matched, dragging each other about half-dressed, barely able to keep their hands to themselves.
I wondered at first about the pairing of their two voices – Poppea rich and powerful in a grand-opera style, Nerone much more Baroque – but decided it reflected the power dynamic quite nicely: the initial scenes, where Nerone is on the back foot and Poppea is busy manipulating him, contrasted effectively with the final love duet, where their voices merged so convincingly that it was hard to tell who was singing what, especially as they were on top of each other on a table, and it was so lovely, I had a bit of a cry.
There was a real synergy among the musicians and the cast, so much that it feels odd to pick out individuals in what was so obviously a group enterprise. But I’m going to do it anyway. James Laing was a revelation; I’d only seen him previously as the Magician in Rinaldo, where he didn’t get much to do. His voice is powerful, well-modulated and expressive, and the top end is truly stunning; I’ve added him to my list of People To Follow Around Slightly Obsessively. Emilie Renard was a gorgeous Cupid, funny and well-judged with a delicious voice; another one to watch out for**. I loved Sandra Piques Eddy’s just-the-right-side-of-bitchy Poppea, and Katherine Manley brought a witty girlishness to poor, doomed, trusting Drusilla.
Mary and I nearly went straight home at the end. We really did. But, you know. No opera’s complete without a bit of fangirling. We gushed excitedly all over Emilie and James, and got invited for a drink! Heavens. This conversation ensued:
Bouncer [to James]: What’s in the carrier bag?
James: Er, I’ve got my stuff from the theatre, and…
Me: DO YOU KNOW this man is INTERNATIONAL OPERA STAR who’s just been on stage at the LOWRY?
Bouncer: [side eye]
We ended up in the venue bar where everyone was utterly sweet and friendly to us and we talked about LOADS of stuff and it was someone’s birthday and if you’ve never heard a whole opera cast break into Happy Birthday spontaneously, well, that’s what I want for mine next year, if that’s ok. What a terrific night. There’s one more performance, in Nottingham next Saturday: I’m seriously considering leaping in the car and driving down, it was that good, so GO, get a ticket. Go on. I’ll see you at the stage door.
* answer: all of the above
** She also ticked the chick-playing-a-chap box; as you know, all proper operas involve a bit of cross-dressing.