| World Class Singing |
Welsh National Opera |
| Welsh National Opera- In Parenthesis , Wales Millennium Centre , May 16, 2016 |
| Large and beautiful in scale, a great deal of sensitivity and understanding has been put into this production by every one involved in bringing this excruciatingly sad account to the stage. It marks the centenary of the activities of the members of the Royal Welch Fusiliers at the battle of the Somme and in particular the assault on the Mametz Wood where these young, amateur and courageous soldiers were almost totally annihilated. David Jones, the author of the original epic poem ‘In Parenthesis’ on which the opera is based, did himself fight with the regiment. The first mark of this understanding, we see as we enter the auditorium. The three dimensional front cloth, in shape similar to the canopy on the front of the Millennium Centre, carries the dedication: “To the enemy front fighters who shared our pains against whom we found ourselves by misadventure.” Two poppy wreaths lie at its foot. Former Musical Director of the company Carlo Rizzi received almost a standing ovation as he stepped on to the conductor’s podium. The strength and delicacy he brought to Iain Bell’s music indicated that this respect was well deserved. His musical passion transferred itself to the orchestra who faultlessly executed the, sometimes complex, music. The set that took us both up on the heights and down in the trenches was a fine piece of work from Robert Innes Hopkins and Malcolm Rippeth’s lighting was absolutely perfect. It is clear how Iain Bell’s powerful music has gained him the attention of many great singers. Not totally atonal and not totally romantic but it moves from one to the other, deeply expressive of the atmosphere of the narrative. Two bards appear Britannia, Peter Coleman-Wright with his warm and assuring baritone and Germania, Alexandra Deshorties, an equally commanding soprano are joined by the female members of the chorus and sing the opening words, echoing Jones’ poem “Do you remember the many men so beautiful who went to war?” The sweet tension in the music holds us in its grasp and stays throughout the performance. It always adds deep colours to the libretto of David Antrobus and Emma Jenkins. Their work skillfully echoes the original poem as well as giving us soldier banter and humour. Former Commanding Officer of the 1st Bn. The Royal Welch Fusiliers Lieutenant-General Jonathon Riley ensured that the cast and chorus became adept and some even very skillful in military deportment and rifle handling. Private John Ball is late on parade; Andrew Bidlack brings a youthful dynamic to his singing. He is also, like every one on the stage, a first class actor. He is reprimanded by Sergeant Snell and Lieutenant Jenkins. To Jenkins the leader of the squad, tall and handsome George Humphreys brings a clear officer’s baritone. And as Snell, Mark Le Brocq brings his “formidable tenor.” The men embark at Southampton as Ball climbs the gangplank. He suffers one of his hallucinations and has to be shoved on board. As they near the front line Ball hallucinates once again seeing Lieutenant Jenkins as Christ leading his sheep through the wilderness. At the front Ball and Lance Corporal Lewis are put on watch. By now they have become close friends. It’s Christmas day; out of sight they hear a German singing a carol. They relax, two old lags argue about who has fought the most battles. Donald Maxwell’s reassuring baritone continues to compel and Graham Clark is his equal in both voice and humour. Unusually there are no real arias in this opera. The vocal phrases pass between the singers like verses in a long and very moving poem. For a few moments, now up at the Mametz Wood Lewis and Ball do sing a quiet and reflective duet. Such peace does not endure for long. Out of a sudden bombardment Lewis is killed and the carnage begins. The ending is wondrous and quite remarkable, David Jones’ poem brought to life. No more detail lest your enjoyment be spoiled. Here director David Pountney excels and fulfills all the demands of this awesome and very human work. There was an added treat. Outside on the theatre courtyard was a bright display of balls of bright red lights swinging gently on slender sticks. Field, 923 lights representing each of the Royal Welch Fusiliers who died during the battle of the Somme and have no known grave. Once launched with Dean Wright, Principal Trumpet of the WNO orchestra playing the Last Post we were able to walk amongst them, giving yet another tingle. The opera will also be shown: Birmingham Hippodrome 10 Jun Royal Opera House, London 29 Jun - 1 Jul |
Reviewed by: Michael Kelligan |
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