English Touring Opera at Wolverhampton Grand Theatre
3rd May 2006
I have now only seen two productions by English Touring Opera, but, already, I have a great admiration for this ambitious opera company. I doubt if many such opera companies would have the courage to choose such demanding repertory – and those that did would struggle to find a young cast who were sufficiently well developed to cope with the vocal and emotional demands of such roles as Alcina and Falstaff on the Autumn Tour, and Tosca and Jenufa now.
In addition, one must consider the not inconsiderable differences in style between Alcina and Falstaff, and between Tosca and Jenufa. Tenor Michael Bracegirdle, for example, is performing both Cavaradossi Tosca and Steva Jenufa on the current Tour – not in the same week, as far as I can make out, but this is still an impressive achievement, and, as no cover is named in the programme, it does not seem impossible that Mr Bracegirdle might find himself performing the two very different roles on consecutive nights. There are more instances of such versatility among the singers playing and covering smaller roles, and, in Alcina and Falstaff, almost every singer appeared to be singing a role in one production, and covering a role in the other.
The ambition of this company is certainly admirable; the results, at least in Alcina and Jenufa, no less so. This week, the aforementioned Mr Bracegirdle appeared in Jenufa. His Steva was not a particularly likeble gentleman, but he gave the character a magnetism which made Jenufa’s and Karolka’s attraction to him understandable. His singing was solid and powerful.
Amanda Echalaz, who sang Alcina in the autumn, returned as Jenufa. She has a very strong soprano which was more than equal to the demands of the role, but, despite this, her Jenufa seemed extremely young and fragile. It was not a forceful performance, but it was a very touching one, and, in many ways, this Jenufa’s added vulnerability makes her varying situations even more horrific.
This interpretation of Jenufa meant that the production seemed to focus around the Kostelnicka. This role was not taken by a young and inexperienced singer – and quite understandably: I’m sure even the highly promising young people ETO has managed to unearth have their limits – but by Anne Mason, a magnificent performer who deserves to be significantly better-known than she is. It is very difficult to sympathise with the Kostelnicka; I can well believe that some people never do. However, with Miss Mason in the role, the Kostelnicka’s storyline is even more shattering than Jenufa’s. Miss Mason gave a staggering performance: wonderfully sung and phenomenally well acted.
She had the excellently strong support, though, of every single performer. Dwayne Jones sang handsomely as Laca; in the second and third acts, the character’s guilt was painful to behold. Katerina Mina’s ghastly Karolka was a fine characterisation, and Penny Ormerod offered cool dignity and practised smiles as her mother. Martin Lamb, looking significantly older than his publicity photograph, was hearty in the role of the Mayor. Helen Field was a lively Kolusina, and Eddie Wade, always ingenious at making small roles memorable, was the Foreman. Linda Hibberd (Grandmother Burya), Anna Wall (Barena) and Jane Harrington (an endearing Jano) complete the cast.
One final note: has anyone else noticed that the doors on a Virgin Pendolino train play a theme from John Adams’ Nixon in China?
Barry Tone
primi-divi at hotmail.co.uk