British Youth Opera at the Peacock Theatre
10th September 2008
Fit Crit said in his review of La rondine that we all had a big fight to decide who would review British Youth Opera’s Flight. While he was exaggerating more than a little bit – can you imagine Barry having a big fight? – it was an opera a number of us wanted to review because we weren’t sure when we’d have the opportunity to review it again. It’s not exactly part of the regular repertory, but that doesn’t stop it from being a thoroughly involving opera.
Bridget Kimak’s airport waiting lounge set, with a lift to the right of the stage (in other words, Stage Left), was realistic and functional. It looked like an airport lounge with chairs everywhere, but they didn’t get in the way of the action except in a realistic sense. Director Martin Lloyd-Evans brought the many humorous moments in the opera very much to the fore, and the audience really seemed to enjoy it, even though most of them probably hadn’t seen the opera before. Most of the Primi Divi have listened to my recording, but, whilst that prepared you for an enjoyable evening, we didn’t know quite how much fun it was all going to be.
A lot of modern operas are quite demanding to listen to, and it can be hard to find the tunes at first. But this was Jonathan Dove, so there was no need to worry. I’ve only seen two of his operas – Flight and The Adventures of Pinocchio, but, whilst his music is contemporary, the tunes are easy to distinguish, and his musical effects a lot of fun. Nicholas Cleobury gave a very enjoyable account of the score.
Some might say that the opera is a little bit too long. There are some fantastic moments in the second act, but there are quite long stretches in the story where very little seems to be happening. So perhaps it would have been possible to work the score down to a shorter opera with two acts instead of three. However, the progression of the story lends itself perfectly to a three-act structure. And it would be very difficult to become bored in Flight.
One of the characters in Flight – arguably one of the central characters, although Flight does seem mostly an ensemble piece – is the Controller, who spends almost all the opera sitting up in her tower, making announcements to the waiting passengers. Rather than putting her in a tower, Lloyd-Evans put her up in what looked like it might usually be a seating area at Dress Circle level, to the left of the stage (or Stage Right). Most of the time, she was just watching the action (except when she left the tower, thus leaving it free for sexual shenanigans), but, when she was making an announcement, her image was projected onto a screen above the lift. This worked very well, as it kept her slightly separate from the action, whilst still keeping her onstage and in view.
This role was taken by Verity Parker – understandably tipped for future stardom by Fit Crit, alongside Telman Guzhevsky who was in La rondine. There are many high sopranos with lovely voices, but those that can sing beautifully in the highest reaches and have perfect diction are rare. It’s just very difficult to sing with any mouth shape other than an ‘ahhhh’ when singing at the top of your range – and this doesn’t make for good communication.
Parker, however, didn’t need to make a choice between diction and quality of tone. She can do both. You could understand pretty much every word. Yes, the Peacock Theatre does have better acoustics than most opera venues, possibly because it’s very small. But I still think Parker is one of the best high sopranos around. A beautifully sweet tone; every word clear – not to mention some wonderful comic timing and a real sense of character for the Controller, which helps the relationship between the Controller and the Refugee to develop.
But Parker wasn’t the only great singer on display. Emma Carrington, with her remarkably rich contralto tones, seems already consigned to the ‘old lady’ roles (Marcellina, Mistress Quickly) and even in Flight she took the role of the Older Woman, who claims to be 52 and (judging from her character) is not unlikely to be a good deal older. (Not that she looks 52, although Carrington’s wonderful acting and the makeup artists did a great job of transforming her from the beautiful and very young-looking girl photographed in the programme. It could have been difficult for Carrington to forge a career in contralto and low mezzo roles without her abilities as a character actress. But her dramatic skills easily equal her vocal talents.
Then we have Bill and Tina, the young couple hoping to rekindle their marriage. Nicky Spence, quite likely Scotland’s most successful tenor as far as recordings and awards are concerned, could never be accused of being a diva. (Or even a divo.) After happily appearing in the chorus of English Touring Opera last year, he now appears with an opera company which usually features unknown singers either straight out of music college or still studying (Spence is actually studying – but I shouldn’t imagine he needed to, considering his success so far). I would like to say (and Hairy would like me to say this too) that he was the star of the show: that he’s probably a little bit too good for British Youth Opera, but I shouldn’t think that many people would have chosen him if asked to guess which member of the cast was a major concert star. Spence was very good – in good voice, and he had lots of fun with the comedy, and he is a much more satisfying performer than a lot of similarly successful stars. I wonder if Katherine Jenkins would sing with BYO if she had the chance.
Tina was sung by Colette Boushell, an early contender for the 2009 Best Female Bottom Award. Tina is not particularly intelligent, and not always nice. But Boushell gave her plenty of charm, and sang attractively. The Steward and Stewardess, smartly-dressed and gagging for it, were wonderfully characterised by Duncan Rock (really lovely baritone voice) and the very amusing Kirsten Darragh, last year’s Florence Pike.
Charlotte Stephenson was another impressive performer. Her character, the Minskwoman, has what appears to be some sort of nervous order, which was sensitively and realistically portrayed. It would probably have been quite easy to play this character as an amusing neurotic suffering from pregnancy hormones. Stephenson didn’t, and it gave the work serious side. And her labour scene was brilliantly done.
More seriousness was provided by counter tenor Andrew Radley’s gorgeously-sung Refugee, originally one of those annoying blokes who follows you about and asks you for change (Hairy really doesn’t like that); later a bit of a con man, but in many ways the nicest person in the opera. And maybe, in the end, he was right about the stones. Flight would have been a brilliant comedy without the Refugee: with him, it becomes so much more than that.
Aaron Alphonsus McAuley (I’ve been asked to inform you he was born in Scotland) was great in the small role of the Minskman, and Oliver Hunt made a strong impression as the scary Immigration Officer.
Cunning Little Vixen
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