Category: Opera

Opera, Theatre

Review: La Cenerentola (Cinderella)

By Sebastian Purcell

La Cenerentola was a wonderfully staged concert by Victorian Opera in the beautifully sounding and designed Elisabeth Murdoch Hall of the Melbourne Recital Centre. La Cenerentola (or Cinderella) was a really accessible opera for new and experienced opera goers alike.

From composer Gioachino Rossini and librettist Jacopo Ferretti the story of Cinderella takes a slightly different approach to the modern fairytale many would know. In this version, it is the Prince (Mert Sungu) that is in disguise as a valet, unbeknownst to the townsfolk, rather than Cinderella (Margarita Gritskova). The Prince sends his loyal companion Dandini (Stephen Marsh) to court Don Magnifico’s (Teddy Tahu Rhodes) daughters Clorinda (Rebecca Rashleigh) and Tsibe (Shakira Dugan) and bring them to the palace ball so he can then chose a wife. However, Cinderella, who is initially denied her request to attend by her stepfather (another change from our modern fairytale), is whisked away to the ball in a magnificent gown by a transformed beggar-come-tutor Alidoro (Michael Lampard).

While sung in Italian, there are English surtitles; I did feel these were not really necessary with such a familiar storyline, emotive score and performance from the cast. It’s a comedy and love story at the heart, with ample levity for an enjoyable night. The cast shine with their impeccable vocals, and the acoustics of the theatre makes listening the soaring tones of Margarita Gritskova such a joy.

On a production note, the costuming was detailed and vibrant. The lighting design (Peter Darby) is bright with the biggest change occurring during a storm scene where, between the orchestration and the lighting, I felt as though I was in the middle of the storm. The direction and staging (Elisabeth Hill-Cooper) was simple and clean but effective for the cast to deliver.

The Victorian Opera Chamber Orchestra gave a flawless performance and were such a joy to listen to, tightly conducted by Richard Mills. You could see their enjoyment throughout and it was lovely to see them centre stage and lit for the entire production.

A highly enjoyable evening, showing why Melbourne is the cultural and theatre capital, where local and international talents combine to produce a vibrant operatic concert for all ages. 

For Victorian Opera’s 2023 Season visit https://www.victorianopera.com.au/season/2023

Photo courtesy of Victorian Opera

Musical Theatre, Opera, Review

Review: The Phantom of the Opera 

The Phantom will be inside your mind long after the curtain falls.

By Sebastian Purcell

The Phantom of the Opera opened on London’s West End in October 1986 and has been re-staged many times over for the past 36 years. Opera Australia’s season of Phantom of the Opera is beautifully re-imagined through an exquisite and lively production. Director Laurence Connor has breathed fresh life into arguably one of the most successful and recognisable musicals in history.

For those unaware, the story is set In the late 1800’s. The cast of the Paris Opera House are rehearsing a new production of Hannibal when resident soprano prima donna Carlotta Giunicelli’s (Giuseppina Grech) aria is interrupted by a stage accident. Ballet dancer Christine Daaé (Amy Manford) takes over the role to great acclaim, but her unseen angel of music teacher the Phantom (Josh Piterman) is enraged when his physical deformity is revealed. Raoul, Vicomte de Chagny (Blake Bowden) falls in love with Christine, promising to protect her from the Phantom. Christine must then choose between her love of performing and the love of her life.

As one expects from Opera Australia, the vocal performances of the 37 strong cast are flawless. Amy Manford’s performance as Christine is the best I have ever seen. Think of Me, Wishing You Were Somehow Here Again, and The Phantom of the Opera are chillingly breathtaking. However, it’s her performance of Notes/Twisted Every Way that grounds the character as a frightened child, being used by the men in her life. Manford draws the audience to a standing ovation – and deservedly so. 

Josh Piterman’s Phantom is full of interesting choices. While vocally exquisite and smooth and his renditions of Music of the Night, All I Ask of You (reprise) and The Point of No Return are pitch perfect, he plays the role more gently, more humanly than other portrayals. However. I must say I missed at times the cruelty and anger of previous Phantoms which tie the inward ugliness of the character to his physical ugliness. The staging of this production at times also humanised the Phantom, placing him amongst the cast for the Act Two opener Masquerade/ Why so Silent? as opposed to above the cast, on a staircase, as per previous productions. For me, this reduced his stature and consequently less likely to be feared. Nonetheless, Piterman’s performance is worth the top billing. 

Blake Bowden’s performance as Raoul is also outstanding. His tone is silky throughout All I Ask of You and the trio of Bowden, Piterman and Manford soar in Wondering Child. Credit must go to the sound design team at the State Theatre as every note is clearly audible. The ensemble is tight, and well utilised throughout for scene changes adding impressive colour and movement. 

Paul Brown’s set design is the boldest I’ve seen and is as jaw dropping as the performances themselves. The well-known bridge to the Phantom’s lair is replaced with the most magnificent spiral staircase. The scenes are densely populated adding a rich character that fills the State theatre, ensuring you can’t mistake it for a concert. The chandelier, well its best left to experience rather than description, but in true Phantom form it comes screaming down from the ceiling. 

Finally, Phantom of the Opera’s music by Sir Andrew Lloyd Webber is what audiences love. The 27-piece orchestra brings the wonderful score to life. Melbourne’s State Theatre is arguably the best place to hear it. It doesn’t get any better than this full orchestra taking flight as the chandelier rises and the overture kicks into full swing. 

Opera Australia’s The Phantom of the Opera is the boldest, most stunning production of the musical yet. This night of music was indeed incredibly special. 

The Phantom of the Opera is playing at the Melbourne Arts Centre from 3 November to 5 February. Tickets Arts Centre Melbourne. 

Photo credit: Daniel Boud

Opera, Review, Theatre

Review: The Who’s Tommy

By Kiana Emmett

In it’s Australian Premiere, The Victorian Opera’s production of The Who’s Tommy is a camp, acid trip into The Who’s ground-breaking concept album. Following a young boy who is ‘deaf, dumb and blind’ that becomes a Pinball Wizard, Tommy is a step back in time, told with a modern twist.

Stylistically, it feels as though the production sits between two different time periods: what is indicated by the story and music, and what is chosen vocally. The vocals of especially the leading cast are more contemporary, whereas the music suggests a more old-school rock sound, of which The Who are synonymous with. That being said, musical director Jack Earle treads the line between these two well, and helps the cast to shine musically.


As the show is a Rock Opera, the story is sung through, and the tight knit, in-sync band are to be commended for driving the show, as it felt as though the music was thrusting the show forward rather than anything else. At times this I felt as though it was a little rushed, with there not being a moment to acknowledge the end of a song with applause before the audience were back into the action. I found this intense and overwhelming some of the time, with not much time to comprehend where the show was going. The costume design by Isaac Lummis was well done, with clear depictions between time and space. The Acid Queen’s flamboyant and dramatic costume was a highlight, as were Mrs Walker’s multitude of costume changes throughout the show.


Amy Lehpamer as Mrs Walker was divine. ‘Smash the Mirror’ was a highlight as her chilling vocals carried all the way through the Palais. The emotional complexity of her character was clear, despite her limited opportunities to really externalise it. Her anguish for her son, and her complicated relationship with her husband I found thoroughly engaging. Matt Heatherington was magnetic as Captain Walker, always drawing your eye with his presence on stage. The gravel like tones of his voice, mixed with the character’s sophisticated, put together dress sense was an interesting juxtaposition between his past experience, and how he wanted those around him to view him. His voice was extraordinary and his performance was a standout.


The ensemble were strong throughout, linking scenes and times together with their clear character presence that really built and enhanced the world. ‘Pinball Wizard’ and ‘Miracle Cure’ were particular standouts. Aided by the richness of Dana Jolly’s choreography, where the music and lyrics failed to provide clarity, they were there to soften the blow.


Vincent Hooper and Kanen Breen were both brilliant in their portrayals of Cousin Kevin and Uncle Ernie, dynamic, while bringing the darkness needed in their abusive characters. They helped make up a cast of truly exceptional vocalists, there was no faulting the musical capabilities of the cast as a whole.
Mat Verevis as Tommy was intricate and well executed, with the depth and complexity required to make an audience relate to a character that for the vast majority of the show cannot present their emotions whatsoever. His voice was stellar, and I found him captivating.


The Who’s Tommy is a whirlwind of 70’s rock and roll, and will be thoroughly enjoyed by anyone who is familiar with the source material of the concept album and film.


The Who’s Tommy is playing at The Palais Theatre through March 1st. Tickets can be purchased through the Arts Centre

Photography by Jeff Busby

Opera, Review, Theatre

Review: Aida

An exquisite re-telling of love and war more than 150 years in the making

By Sebastian Purcell

Opera Australia presents Verdi’s Aida with its long awaited premier on the back of a closed Arts Centre; making up for the 2020 hiatus with a truly dazzling and rich production. Under the wonderful direction of Davide Livermore and conducted by Tahu Matheson, the 60 strong cast (and orchestra) displayed such enthusiasm and discipline that every word could be heard within the wonderful State Theatre perfezionamento.

Aida, first staged in 1871, is a tragic love story set in the middle of a war between the Egyptians and Ethiopians. Egypt’s King (Gennadi Dubinsky) enlists Radamès (Stefano La Colla) as his battle commander while the king’s daughter, Amneris (Elena Gabouri), pines for Radamès love. Unbeknownst to all, Aida (Leah Crocetto), a slave of the Egyptians, is in love with Radamès, which is reciprocated, but to complicate things further, Aida is also the daughter and princess of Ramfis (Alexander Vinogradov / David Parkin) the King of Ethiopia. A tug of war between loyalty for country and love ensues, ending in a climatic declaration of love and the ultimate sacrifice.

This production of Aida steps into the digital age, utilising 10 large LED screens to give depth and provide scene setting. This vibrant statement bringing this opera into the modern age. The wonderful projections of the black panther and the golden cobra are a menacing back drop at times, wonderfully animated as to not take away from the performers on stage. Other key highlights include being bathed in the Nile, to being entombed in a Great Pyramid. The incredibly powerful final scene is a triumph of staging with suspended props and use of the digital boards.

Leah Crocetto as Aida, the leading soprano, was sublime; such command of her voice and intensity for almost 3 hours is sure to be admired. Elena Gabouri and Stefano La Colla were equally breathtaking in their craft and command of the stage. And costume designer Gianluca Falaschi deserves a shout out for the lavish costumes, especially for over 60 performers and really bringing the audience into an ancient Egyptian court room.

While there were some minor technical difficulties experienced during the first act, with the surtitles screen not operating, making it slightly trickier for those unfamiliar to follow. This was quickly rectified for the second act onwards, and to be fair the sets, costumes and choreography (Davide Livermore and Shane Placentino) made the surtitles an added bonus rather than an absolute necessity for translation.

Aida plays at the Victorian Arts Centre, State Theatre from 6 – 21 May, 2021. Tickets are between $69 – $287. Book at https://www.artscentremelbourne.com.au/

Photograph courtesy Opera Australia

Cabaret, Opera

Review: Salome

A disturbing opera, masterfully presented

By Narelle Wood

Victorian Opera opens its 2020 season with a performance of Richard Strauss’s unsettling Opera Salomé, based on Oscar Wilde’s play by the same name.

The Opera opens with Narraboth (James Egglestone), the captain of the guards guarding the prophet Jochanaan (Daniel Sumegi), voicing is admiration and infatuation for Salomé (Vida Mikneviciute). Salomé soon enters, having left the banquet to escape her step-father Herod (Ian Storey), who is also infatuated by Salomé. The plot quickly thickens as Salomé demands to speak to Jochanaan. Upon meeting Jochanaan Salomé becomes intoxicated by his looks, but Jochanaan rebukes her advances, denouncing Salomé, her family, and their wickedness. Meanwhile, distraught at the sight of Salomé’s admiration for another, Narraboth takes his own life. And just when you think that this may be the climatic end to the story, Herod and Herodias (Liane Keegan) enter, and the plot takes yet another dark turn.

Conducted by Richard Mills, Orchestra Victoria bring a sense of urgency to the score that seems to foreshadow the impending tragedy, even when the characters are declaring their love for another. Director Cameron Menzies has capitalised on the uncomfortable themes of Strauss’s opera, bringing to the stage characters who are complex, unlikeable and disturbing, especially in their interactions with each other. There is no mistaking Herod’s leering, and almost predatory pursuit of Salomé’s affections, but he is also tormented and seems to have some resemblance of a moral compass. Herodias, while gleeful at the prospect of her husband’s potential demise, is also at times seemingly concerned for him. The setting, designed by Christina Smith, superbly mirrors some of the architectural features of the Palais theatre, and is almost dishevelled in appearance, but is still reminiscent of a ‘great palace’. The costuming by Anna Cordingley is stunning, but again there is something that is just ‘off’ enough, deliberately so, for it to look constricted, unsettled or out of place.

Everybody’s performances are exceptional, including the impressive ensemble. There is potential with this storyline for the characters to become more caricatures. And while there were certain character traits that each performer emphasised, it didn’t ever cross the line into something more farcical. And, again, this seemed to contribute to the troubling nature of the performance. Mikneviciute, for instance, moves from emotion to emotion, portraying Salomé as someone confident in who they are and what they want, despite how irrational or comedic her behaviour might appear to the audience.

While the opera is short – one act of 90 minutes – the impression it leaves is lasting. Victorian Opera’s interpretation of Salomé is tragic and uncomfortable, but captivatingly so.

Salomé is on at the Palais Theatre until February 27th. Tickets at http://www.victorianopera.com.au/season/salome

Photography by Craig Fuller

 

 

Opera

Review: The Barber Of Seville

Just as enjoyable two centuries on

By Owen James

For two performances only this December, Victorian Opera have brought one of the most famous operas to life at the Melbourne Recital Centre – The Barber Of Seville. Now over 200 years old, Rossini’s comedy begins when affluent Count Almaviva disguises himself as poor student Lindoro to charm Rosina, ward of villainous Doctor Bartolo. The Barber Of Seville himself, Figaro, helps Almaviva to woo and rescue Rosina in exchange for fiscal reward.

Direction from Elizabeth Hill-Cooper ensures the limited stage space (what remains in front of the orchestra) is used effectively, with action constant but never cluttered. This is billed as a “semi-staged concert”, so movement remains simple for the most part, allowing us to become fully immersed in Rossini’s timeless music. English surtitles are projected above the stage, in time with the often rapid-fire original Italian lyrics.

Experiencing this score played to perfection by a full orchestra is an incomparable experience. The unmistakable overture is a journey of its own (arguably the finest overture ever composed), followed by soaring arias and grand motifs that heighten the simple comedic, romantic themes to an epic scale. Musical director Richard Mills has allowed Rossini’s music to both breathe and maintain pace. No note is ever out of place thanks to his keen conducting and Orchestra Victoria, who obviously adore playing through this classic (and are balanced naturally thanks to the beautiful acoustics of the Recital Centre – no vocal mics are needed and not a note is lost!). Thunder sheets are used to great dramatic effect by the percussion section during a chaotic second act downpour.

José Carbó as the suave titular barber Figaro is a delight at every turn. His voice carries every delicate inflection and grandiose flourish with ease, eliciting many a “bravo!” from captivated audience members. Brenton Spiteri delivers an impressive vocal performance as Count Almaviva, effortlessly mining endless texture and beauty from every note of Rossini’s often difficult score. The pair are almost always together throughout their scheming, a witty, sharp duo that keep us enthralled and giggling with bursts of crafty commedia dell’arte as each romantic attempt is foiled.

Warwick Fyfe is the menacing villain Doctor Bartolo, sternly commanding the stage with an austere but ruffled presence. Whether barking reprimands or being undermined by gleeful Almaviva, Fyfe expertly plays the straight man at every turn (even when adorned with a beard of real shaving cream). Rosina’s cheeky and brave spirit is captured by Chiara Amarù, proving that there is a lot more to this ward than a mere damsel in distress. Amarù’s vocals are mesmerising throughout, her classical soprano tones drifting seamlessly across difficult arias. Paolo Pecchioli, man of a million faces, completes the key pieces of this comic puzzle as greedy Don Basilio, an audience favourite with every rubberfaced appearance.

Congratulations to Victorian Opera for a superb rendition of this musical and vocal rollercoaster, a tremendous feat accomplished with superb casting that undeniably deserves a much longer season!

https://www.victorianopera.com.au/season/the-barber-of-seville

Photography by Nick Hanson

Opera

Review: The Selfish Giant

A giant production with so much to love

By Narelle Wood 

Victorian Opera Youth Opera brand new work, The Selfish Giant – based on the Oscar Wilde short story of the same name – is sure to become a favourite for opera aficionados and newbies alike.

Under the Direction of Cameron Menzies, we follow the story of the giant (Stephen Marsh) as he comes home from an extended trip to find his beloved garden overrun with happily playing children. Scarred from his childhood, and wanting the garden all to himself, the giant scares the children away. The next day Spring (Saffrey Brown) arrives with her fairies (Stephanie Ciantar and Chloe Maree Harris) to wake up the garden, but something is wrong. Soon after Snow (Michael Dimovski), Wind (Noah Ryland) and Frost (Darcy Carroll) arrive with Winter (Olivia Federow-Yemm), looking for a place to call home. Spotting the deserted garden they make themselves at home. After some time has passed, children again find their way back into the garden, prompting the selfish giant to think about sharing. Winter is banished and Spring returns.

Composer Simon Bruckard’s captures the story with dynamic shifts in mood, from the playfulness of the children and the grumpiness of the giant to the sprightly spring and the glacial winter. Some of my favourite moments come from the children playing, where librettist Emma Muir-Smith has managed to capture both the fun-loving and at-times menacing behaviour of children, in a very Oscar Wilde-esque way. There are moments of endearing wit, especially from the Dimovski, Ryland and Carroll whose characters lend themselves to Wilde’s frivolity. I wondered whether there were more moments to capture Wilde’s sardonic wit, especially for the giant.

While James Browne’s set is minimalist, the dimensions and angles of the stage and carefully placed set pieces creates the impression of an imposing house, suitable to contain an imposing giant. Browne’s costumes, however, were one of my favourite things in a production where there was just so much to love. Menzies’ use of props to represent the garden is incredible, as are all the performances. Marsh is endearing as the giant, even when he’s been selfish, and the Youth Chorus and Victorian Opera Chamber Orchestra are faultless in their supporting roles.

Tickets to this world premiere were hard to come by, and it’s easy to see why. This is a charming opera showcasing the immense talent that all of these performers have to offer. The run was short, but hopefully The Selfish Giant will get the revival it deserves.

For more Victorian Opera performances and tickets go to victorianopera.com.au

Photography courtesy of Charlie Kinross

Opera

Review: Die Meistersinger von Nürnberg

Opera Australia mounts Die Meistersinger von Nürnberg trading comedy for grandeur 

By Leeor Adar 

One can rarely prepare for the grandiosity of a Richard Wagner opera; it takes the gargantuan ego of Wagner and elongates into a brilliance so exhausting that one is both awed and thankful by the time the curtains close. Die Meistersinger von Nürnberg is no exception here, and instead of gods and monsters, Wagner takes a club to the club, so to speak. Old establishment meets the radical ego of a young man, and ultimately the radicalised eventually succumbs to the powers of the masters.

The story unfolds in Nuremberg, an intensely patriotic front of the Germans, and follows the competition amongst its musical poets for the hand in marriage of a young and well-connected maiden. The tale is simple enough, however Die Meistersinger reflects the innards of Wagner at differing stages of his own life. At first, Wagner is Walther Von Stolzing, rebelling against the gates of the establishment to be seen and heard. Like Walther, Wagner despised the conventions of opera in his youth, but by the time Wagner was composing the opera he was Hans Sachs, the wiser and far more desirable hero for the tale whose heroism is deeply entrenched in his love of art and Germany.

It is easy to see in the final act of Die Meistersinger how the Third Reich was so enamoured with the composer and his work. Where Gioachino Rossini’s lead in Guillaume Tell (recently performed by Victorian Opera) is bolstered by community and the fight against larger forces, our ultimate hero, Sachs, in Wagner’s Die Meistersinger strongly desires to maintain the masters, even when he questions their methods.

To bring us this extravagant opera Australian Opera partners with the Royal Opera House Convent Garden and the National Centre for Performing Arts, Beijing. It is mammoth in length and mammoth in the scale of its staging. Much like the Ring Cycle, Die Meistersinger contains larger than life characters and spaces. Set designer, Mia Stensgaard, created the crowning jewel of Die Meistersinger with a set design so stunningly elaborate and intricate it looks as though the characters inhabit the insides of an organ – a very fitting world for the Mastersingers.

I was thrilled to learn that Kasper Holten would be Directing Die Meistersinger, as his ground-breaking approach to his previous work had the potential to be fantastically imagined in Wagner’s world. I had the pleasure of seeing Holten’s direction of Karol Szymanowski’s King Roger in 2017, and can see how his style weaves through the old-world costumes of designer, Anja Vang Kragh. It is also pleasing to see composer Pietari Inkinen return after an astonishingly successful Ring Cycle in 2016 to conduct this production.

As for the performers, Natalie Aroyan makes for a strong Eva despite the constraints the role provides to a voice as rich as hers. Stefan Vinke as Walther is not so exciting in his Meatloaf moonlighting as a ’70s dad getup. Unfortunately, Vinke’s vocals struggled to bring the requisite intensity to the role, however by the second act, he was in a stronger stride. Die Meistersinger’s real hero, Sachs, is performed by baritone Michael Kupfer-Radecky with an intensity and composure that surely sent many hearts fluttering. Kupfer-Radecky had the opportunity to previously take on the role of Sachs in La Scala in 2017, so it is Australia’s great fortune to have him reprise the role for Opera Australia.

There is very little comedy to be had in Wagner’s famed comedy. Most of the “humour” is reserved for the humiliation of what is ultimately an abysmally treated Sixtus Beckmesser, a Jewish caricature that reflects only the surface of Wagner’s equally grandiose anti-Semitism. However, Warwick Fyfe certainly electrifies the role, making Beckmesser a fabulous (and yes, funny) villain despite what our historical gaze will affix to the character.

In the scheme of Wagner’s work, Die Meistersinger is not particularly as palatable as the Ring Cycle, but if this is your first foray into Wagner’s world, Opera Australia’s production makes for an excellent entrance.

Die Meistersinger von Nürnberg is being performed at Arts Centre Melbourne 13 -22 November. Tickets can be purchased online.

Photograph: Jeff Busby

Opera, Theatre

Review: The Rug

A satirical dissection of the angry white man

By Samuel Barson

An angry white man has a tantrum about how difficult it is being a white man. No, this is not parliamentary question time, this is Ben Grant’s electropera The Rug.

With a running time of just 45 minutes, The Rug is a feverish and hysterical satire on the so-called ‘plight’ of the modern white man.

Ben Grant, a white male himself, does a respectful job with the commentary he makes on his own demographic. He is self-aware and has clearly done much research on Australia’s current situation, as well as its history of racial prejudice. It took some time to get used to his performance style, but once comfortable with what he was doing, it was a solid and clever solo performance.

Herbz’s production design and Paul Lim’s lighting design were exuberant, unpredictable and strangely glamorous. The dramatic design complimented the over-dramatic white man who was whining and prancing around the stage.

Rah Creation’s set design was kindly simple, allowing the attention to be on Grant’s performance, while still serving his choreography when necessary.

The Rug is certainly not your typical piece of theatre, but rather a greatly refreshing one. It was exciting to see regularly visited themes like privilege tackled in such an irregular and entertaining way. A must see for lovers of the absurd.

The Rug is being performed at La Mama Courthouse 31 October – 11 November. Tickets can be purchased online or by calling the box office on 03 9347 6142.

Photograph: Pier Carthew

 

Opera

Review: Pelléas and Mélisande

Elemental and mysterious – Victorian Opera faithfully restages Debussy classic

By Lois Maskiell

The cruelly romantic Pelléas and Mélisande as produced by the Victorian Opera is an enchanting and loyal rendition of Claude Debussy’s only completed opera. Elegantly and simply staged, this tragic tale reaches the subconscious with its haunting score and celebrated motifs. Debussy’s ingenious ability to transform content across artistic mediums is revealed in the fact that this opera is based on Belgian playwright Maurice Maeterlinck’s symbolist play of 1893. Belonging to the turn of the century, it is often associated with impressionist and symbolist movements in art and literature respectively, particularly because of its allusions to the natural world.

Caught in a web of duty, longing and revenge, Golaud (Samuel Dundas), his wife Mélisande (Siobhan Stagg) and half-brother and Pelléas (Angus Wood) form an ill-fated love triangle. After Golaud discovers the distraught Mélisande lost in the forest, he claims her as his bride and brings her to the castle where Pelléas and his parents Arkel and Genevieve (David Parkin and Liane Keegan) reside. As Mélisande passes increasing amounts of time with Pelléas, their secret relationship transitions from one of playfulness to passion before concluding with a strike of Golaud’s sword.

Palais Theatre’s ornate proscenium arch frames a fairly stark set which, excluding three spinning wooden structures, features only an enormous white sheet cast across the back of the stage. As smoke drifts from the wings, Joseph Mercurio’s exquisite lighting illuminates the backdrop establishing an ethereal atmosphere, which grows increasingly lunar as soon as the orchestra and singers begin performing. Richard Mills conducts with great momentum and attention to silence; delicate melodic fragments sweep throughout the theatre evoking both the forest and confines of a gloomy castle. A highlight was the timpani which added foreboding depth to the score’s loftier sounds.

The performance captures the famous image of Mélisande letting her hair down and Pelléas succumbing to passion with beguiling modesty that is indeed suggestive. Soprano, Siobhan Stagg is sublimely cast as Mélisande. Stagg brings complexity to such a belittled character who is constantly reminded of her timidity and childlike qualities by the male characters. Bass, David Parkin as Arkel reaches allegorical stature with his unearthly low notes. The rich baritone of Dundas fuels a charged Golaud, which contrasts to tenor Wood who stars in the more reserved role of Pelléas.

Director, Elizabeth Hill ensures each scene is clear and allows relationships, affiliations and individual characters to be expressed in beautiful unison with the music. While I wanted the chemistry between Mélisande and Pelléas to be more electric, the strength and talent of each individual performer compensated for any great shortcomings.

On the whole, the Victorian Opera has achieved an idyllic marriage of text, score and mise-en-scène with this production that deserves a much longer season.

Pelléas and Mélisande is being performed 11 and 13 October at Palais Theatre, St Kilda. Tickets can be purchased online and by calling the box office on 136 100. 

Photograph: Jeff Busby