Hackney Empire Theatre
 |
| Images: © Richard Hubert Smith |
Ilia – Galina Averina
Idamante – Catherine Carby
Idomeneo – Christopher Turner
Arbace, High Priest of Neptune
– John-Colyn Gyeantey
Elettra – Paula Sides
Voice of the Oracle of Neptune
– Ed Hawkins
James Conway (director)
Frankie Bradshaw (designs)
Rory Beaton (lighting)
Rory Beaton (lighting)
Chorus and Orchestra of English Touring Opera
Jonathan Peter Kenny (conductor)
The greatest miracle in
operatic history? On balance, I tend to think so. The distinction of Idomeneo’s forebears, be they operas of
Mozart, Gluck, or anyone else, ‘reformist’ or otherwise, is too readily
overlooked. Nevertheless, the leap from La
finta giardiniera to Idomeneo
remains a challenge to explain – or, better, a mystery at which to marvel, in
which to rejoice. I remember, as an undergraduate, once noting an examination
question with a quotation something along the lines of ‘It is impossible to
explain the quantum leap Wagner took from Rienzi
to Der fliegende Holländer,’ followed
by the injunction, ‘Nevertheless, make the attempt.’ Something similar might be
said here, and Wagner is surely the only comparable case; I wonder, though
whether Idomeneo might not offer a
miracle still greater.
 |
| Idamante (Catherine Carby), Chorus, Ilia (Galina Averiana) |
Speaking of miracles, English
Touring Opera does not come so very far off with a production and performance
that, considered as a whole, mark the finest I have seen. We do not live in a golden
age of Mozart stagings, nor do we live in a golden age of Mozart conducting; most
likely, such golden ages never existed in the first place. There are exceptions,
though, just as there most likely always have been. Idomeneo nonetheless seems to have proved particularly unlucky – or
perhaps I have been particularly unlucky with it. If Jonathan Peter Kenny’s
direction of the keen ETO Chorus and Orchestra occasionally seemed to err a
little on the bright and bubbly side – this is, after all, a work as much in
the tradition of tragédie lyrique as
anything else, and one Mozart wished, in the case of subsequent revision to
take further in that direction – then there remained, once past the strangely
perfunctory opening bars, much to admire. Admirably flexible, there was enough
in Kenny’s conducting to convey the dramatic power and dazzling originality of
Mozart’s intimations of so much nineteenth-century practice: orchestral colour
(yes, with roots in Gluck, even Rameau, yet peering forward to Weber, Berlioz,
and beyond), and both a shorter- and longer-term harmonic strategy, the latter
married to Wagnerian dissolution of formal boundaries and consequent
alternative, often sonata-led constructivism, that at the very least rival Don Giovanni. Slight roughness around
the edges was a price well worth paying for such musico-dramatic commitment.
 |
| Elettra (Paula Sides) |
Much of that came, of course,
from the singers, more than a match for any other cast I have heard in the
theatre. Christopher Turner’s Idomeneo was certainly the best I have heard:
vulnerable, thoughtful, utterly secure of line, and possessed of all the
necessary vocal firepower, wisely deployed. Galina Averina and Catherine Carby
made for a beautifully matched, yet also contrasted, Ilia and Idamante, moral
examples through struggle, without a hint of didacticism. Paula Saides’s
Elettra proved little short of sensational, an object lesson in the combination
of line, colour, and dramatic involvement to create in time something so much
greater than the sum of its parts. John Colyn-Gyeantey combined the thankless
role of Arbace with the slight role of the High Priest. A little confusingly,
the roles were elided rather than simply sung by the same artist, but that was
not his fault. Coloratura was, throughout the cast, deployed not only with accuracy
but with meaning; much the same might be said of ornamentation.
 |
| Idomeneo (Christopher Turner) |
James Conway offered a
typically resourceful production: not only, of course, for the Hackney Empire,
but for a host of theatres up and down the country, many of them in towns that
will otherwise see and hear no opera all year. He proceeded from trusting the
work, from seemingly – however much of a theatrical illusion this may be – permitting
it to speak for itself. Costumes, lighting, facial expressions, especially from
the chorus of Trojans and Greeks, hinted at the political backdrop, without
reducing the work to the all-too-easy, if understandably appealing conception
of a ‘wartime drama’. A Mediterranean, even Cretan setting was likewise
apparent, without dominating or overwhelming. This was above all a drama of
sacrifice, in the line of Antoine Danchet’s original Idomenée at least as much as the Abbé Varesco’s revision (much
transformed by an often frustrated Mozart). Lest that all sound a touch too werktreu, an excellent twist, drawn out
of the drama rather than imposed upon it, was brought to us in Elettra’s final
attempt to hold Ilia hostage, perhaps even to slaughter her.
The only real disappointment
one might have entertained lay in the considerable cuts visited upon the score.
If I could live with them, I suspect anyone of good will would also have been
able to do so. Richard Strauss, after all, conducted far more drastic surgery,
especially to the recitative, eliminating the harpsichord entirely – alongside,
of course, acts of wholesale recomposition. Might I have preferred to hear a
more ‘complete’ version, leaving aside for the moment the lack of what we – or Mozart
– might consider a definitive text? (Many would consider the Munich ‘original’
preferable to the single Vienna performance; I should broadly, not without
qualification, agree.) Of course. That, however, is quite beside the point.
Within all manner of unavoidable constraints, not least the needs of touring,
it would have to have been this, something like it, or nothing at all.
 |
| Idamante and Idomeneo |
That ‘this’ emerged superior to
any other Idomeneo I have experienced
in the theatre thus says all the more, given its regrettable – in a utopian
sense – constraints. Magnificent, musically and
dramatically, though the ballet music may be, we could hardly expect the
company to stage that too. Martin
Kušej’s 2014 Covent Garden production, sadly let down by atrocious
conducting and a still more atrocious Idamante, offered a one-off solution of
no dance whatsoever, a provocative frieze of shell-shocked regime change; such,
however, is hardly a negative coup de théâtre
gladly to suffer repetition. There is often much to be said for
straightforwardness; there is pretty much everything to be said for conviction.
This production and these performances offered both – and more.
