White gloved minions, security pass lanyards, the fey gallery director… Pinchgut Opera’s latest offering is a delicious comedy of manners set within the tight-knit, high brow world of Fine Art. Three one-act operas — two by Rameau, with a comic interlude from Leonardo Vinci — sit nicely in an upmarket gallery, alongside the precious exhibits and precious people. It’s an ingenious way to frame – literally and figuratively — the action, and a great excuse for adding a bit of quirk and fizz to the stock characters of French tragedie lyrique. Thus modern and ancient archetypes meet in a complex and fascinating play on art and artifice.
The strength of this production is in the individual characterisations: everyone on stage has a distinct role to play. Not only that, but they must sustain that role throughout the instrumental interludes, the dance sequences and set piece arias. Director Crystal Manich and movement designer Danielle Michich have done a great job. Every step, every move tells.
But this production’s strength — its busy, minutely observed human backstory which animates the lengthy da capo arias — is also what makes it one of Pinchgut’s less successful productions. There is so much to see that, for me, it ends up lacking focus and, hence, losing that intensity of emotion that the music requires. Thus, Vinci’s buffa interlude, Erighetta & Don Chilone, which plays out on and around the confines of a chaise longue, is the most dramatically compelling, in spite of its less than ambitious score. It also has the advantage of two brilliant comic actors, Richard Anderson and Taryn Fiebig, who also happen to be opera singers. This pair are, individually, the anchors for Anacreon and Pigmalion, respectively, then a slapstick double act for Erighetta & Don Chilone. It’s a tour de force.
We interrupt this review for a quick commercial break. If you haven’t already looked at my book project, Sanctuary, I hope you will! It’s a history of Dartington Summer School, with words and pictures. I’m crowdfunding it with the enlightened UK publisher Unbound. Do take a look, do pledge, and do share it on social media or IRL!
One of the great things about Pinchgut Opera is its quest to share new discoveries with its audiences. One of these two works of Rameau, for example, is getting a rousing Australian premiere only 250 years after it was first written*. And there are also two exciting Australian debuts, for British tenor Samuel Boden and Australian-born soprano Lauren Zolezzi. Boden takes the role of the sculptor Pigmalion, blind-sided by love for his own creation. He combines a natural stage presence with a fine tenor, full of nuance. Zolezzi, in the role of Cupid, owns the stage with her cheeky skip and clarion tone, negotiating the coloratura of the role with nonchalant sass. Watch out for these two.
Three more memorable Pinchgut debuts: David Hidden as the gallery curator, Allegra Giagu in the role of Lycoris and Morgan Balfour in the role of Cephise. Giagu comes to Pinchgut via their partnership with Melbourne Conservatorium of Music, while Hidden is a Saul alumnus. As for Balfour, her brief but brilliant moment in the spotlight, as Pigmalion’s all-too-human lover, marks her out as another star in the making.
In an artistic climate where large arts organisations are inclined to duck the challenge of new repertoire and unknown artists, Pinchgut is showing the way.
*Thanks to Leigh Middenway on pointing out my original mistake in saying Pigmalion was an Australian premiere. From Leigh: “It was done in Adelaide in 1972 with Richard Divall conducting. I’m from Adelaide and when I posted my own reaction to the Triple Bill, an old friend wrote that he’d sung in it. He rattled off some names and even scenery and costume details.” Trust Adelaide to be first!
The last performance is tonight, Tuesday 20 June.