Left - Sally-Anne Russell and James Egglestone. Cover - Sally-Anne Russell
I wonder what Louisa May Alcott would have thought. Her “Little Women”
was much bigger than she ever expected, and now it’s an opera with some
of her words, but deftly re-written by the young American composer Mark
Adamo. In a two act flash-back sandwiched between a prologue and a
finale in the March family attic, we follow Jo’s struggle with how
things change, and how she wants them to stay the same when things are
“perfect as they are”. Would Ms Alcott have coped with this much
change?
Mezzo Soprano Sally-Anne Russell is superb in the complex and demanding
role of Jo, and is teamed with one of the finest line-ups of talent
one could hope for anywhere. This production - cast, orchestra,
direction, design could hold its end up in San Diego, New York, London
or Bayreuth, and it is a credit to State Opera SA and the State Theatre Company that they embarked on this ambitious project of bringing new
opera to Adelaide audiences, albeit one which has been tried with
success elsewhere. It’s a pity there weren’t more of them there to
hear this one. Perhaps more might have if there had been more
effective publicity.
Furthermore, we can be proud of our young singers showcased in this
work. James Eggelstone is a refreshingly unpretentious tenor tossing
off the role of Laurie with élan. Jo’s three sisters all shone in their
respective roles, and Jessica Dean was particularly convincing as the
loyal, pale and waning Beth. Their ensemble singing was notable for
its blend, and the rich baritone of Pelham Andrews(Friedrich) is one
to keep an eye on or an ear out for.
I am always intensely grateful for surtitles, but can’t escape the
feeling that it is in fact an indictment on opera singers that these
are necessary when the words are being sung in English (to quote Jo:
“The voice is beautiful, but I still would like to understand the
words”!). Without wishing to detract from their talent, the younger
singers amongst these little women could take a leaf out of the
experienced book of the impeccably clear Elizabeth Campbell, who strode
through the role of Aunt Cecelia March with style and grace. For her,
surtitles were not necessary. Would that the same could be said of
more divas.
Dean Hills’ design is plain and effective, yet on a grand scale,
allowing for minimalist scene changes, and several contemporaneous
locations for the action, forming a simple backdrop for the intricate
complexities of the music. The huge trusses of the family attic were
particularly striking.
Meanwhile in the pit, The Adelaide Art Orchestra was masterfully
managed by conductor and founder of the orchestra, Timothy Sexton. He
remained in control of the intricate and variable score, the fine
players, and the well blended noises-off chorus. However this music is
not easily accessible. It varies from a more lyrical narrative style
to dodecaphonic angularity. The result is a somewhat amorphous
tunelessness, which only increased my admiration for the way the
singers coped with it. In a sense the story, with its tension between
nostalgia and progress in post civil war New England, is not dramatic
enough to carry this intense and somewhat difficult music. Apart from
certain leitmotifs it was not until Friedrich’s “Kennst du das Land?”
(Goethe) in the second act that there was really a discernible tune.
Will it last another hundred years as the novel has? As Jo mused,
“Where will we be tomorrow? It’s not in my control.” Perhaps to
paraphrase Sir Thomas Beecham: people may want to like this music, but
may not love the noise it makes.
State Opera South Australia and
State Theatre Company of South Australia present Little Women An Opera by Mark Adamo
Venue: The Dunstan Playhouse Dates:
19 May – 2 June Times: Sat 19, Tue 22, Thu 24, Sat 26, Tue 29, Thu 31 May + Sat 2 June 7.30pm Tickets: Adults $95*, Conc $90 Bookings: 131 246 or www.bass.net.au Further Information: www.statetheatrecompany.com.au
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