When the going gets tough, operaās heroines donāt shop, they sing. Itās no secret that women are victimised, ridiculed, murdered, bullied or languish on day beds with terminal illness in operatic storytelling. The mouthier the woman the more she is likely to die a horrible death.Ā
This refreshing, worthy show that’s been conceived and written by Sarah Holland-Batt with insightful direction by Patrick Nolan and Laura Hansford, unspooled the brilliant legacy of womenās voices in the genreās history from Monteverdi to Finsterer. And the program highlighted the multiple ways spirited heroines are traumatised in operas by Purcell, Mozart and Poulenc.
After a frustrating period of live performances being brutally axed, this show gave a large cast of women, several male soloists including the silver-toned Jose Carbo, and Opera Queenslandās robust, polished chorus, the chance to sing in a gritty mix of intense arias. On show was an intense selection of classics in which plucky heroines put up a helluva fight and donāt mince words.
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Bizetās grisly āLes dialogue des Carmeliteās,ā based on a true story, features 16 ānunsā guillotined in the French Revolution. The playlist celebrated works by Australians Mary Finsterer, Peggy Polias and Peggy Glanville-Hicks and Europeans Purcell, Puccini, Donizetti and Tchaikovsky.
Sofia Troncoso and Michael Honeyman, distinguished themselves in āPlease Donāt Die Janā by American composer Missy Mazzoli from Breaking The Waves. The bleak, at times stormy orchestration, resonated with Brittenās seascapes in Peter Grimes. Troncoso, in fine fettle, climbed the steep melodic contours of Mazzoliās vivid language.Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā
The arias were connected by drifts of murmured ghostly whispers that functioned as a Greek chorus and linked the 20 arias and choruses together. To be picky, the momentum waxed and waned and dragged in the first half, perhaps because the program of slower-paced arias all peddled gloom and tragedy. Despite the worthy political message, the program still needs to be entertaining too.Ā
One of the strengths was the simplicity of the setting that featured orchestral players on stage, liberated from the pit. The irrepressible Jessica Lethin supported rather than dominated the singers and when the instrumental commentary soared, it wasnāt at the singersā expense. Stunning video projections added depth, atmosphere and intriguing visual interest. Costume design by Karen Cochet was classy. And to the stage designerās credit, the concert hall stage didnāt convey an awkward compromise but rather an authentic simplicity.
Illness plagues live performance these days. Dominique Fegan replaced Lisa Harper-Brown and launched the evening with Toscaās tortured, āVissi dāarte.ā Fegan mined the pathos with a sinewy, determined voice, big vibrato and a loving respect for Pucciniās music.
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Eleanor Greenwood as Leonore in Beethovenās Fidelio could be operaās answer to pop star Alanis Morrisette. Not vocally, but because of her theatrical flair for delivering white hot spitting rage. Her distinctive lower register complemented a lovely upper range.Ā
Hayley Sugarsā fluid clarity in Purcellās much-loved lament āWhen Iām Laid in Earthā with its swirled undertow of scorching pain had appeal and she rocked as Carmen in Bizetās sassy, man-baiting, āPres des remparts de Seveille.ā Katie Stenzel embodied queenly evil in The Magic Fluteās murderously difficult āDer Holle Racheā and, her admirable execution of the repetitive segments of stabbing staccato were fired like deadly bullets.Ā
Eva Kong channelled luminous lunacy as Lucia in āO giusto cielo.ā Later in a strong voice she fielded Turandotās tragic oratory.
Opera Queenslandās exploration of the soprano voice will hopefully inspire librettists and composers to create three-dimensional heroines who are not exclusively defined by their relationship to men. The proud cast on stage humming āCoro a bocca chiusaā from Madame Butterfly was a magical conclusion.
The Sopranos
By Sarah Holland-Batt
Opera Queensland in association with Queensland Symphony Orchestra
Concept:Ā Sarah Holland-BattĀ andĀ Patrick Nolan
Conductor:Ā Jessica Gethin
Director:Ā Laura HansfordĀ andĀ Patrick Nolan
Costumes:Ā Karen CochetĀ andĀ Bianca Bulley
Lighting:Ā Christine Felmingham
Dramaturg:Ā Jane Sheldon
Chorus Master: Narelle French
Cast: Sarah Crane, Amber Evans, Tania Ferris, Eleanor Greenwood, Lisa Harper-Brown, Leanne Kenneally, Eva Kong, Kate Stenzel, Sofia Troncoso, Hayley Sugars, Shaun Brown, JosĆ© Carbó, Simon Lobelson, Carlos E. BĆ”rcenas RamĆrez
Opera Queensland Chorus
The Sopranos was performed from 29 March to 2 April 2022 at the Concert Hall, QPAC.