Photographer: Jodie Hutchinson
Sophisticated yet free from exclusivity and pomp, Chapel off Chapel was a charming choice to allow the story of Werther (pronounced ‘Vertair’) to unfold. Produced by contemporary Lyric Opera of Melbourne (director Suzanne Chaundry), the poetic license employed to cast and stage the up-close-and-personal adaption of the universally popular drama lyrique in four acts showed artistry and fine execution. Despite the smudging of opera boundaries the perfumed masterpiece of Massanet was true to its original intent; delightful, richly characterised and disarming. An accessible and intimate retelling by disillusionedWerther (Shanul Sharma), old-fashioned Charlotte (Margaret Plummer), bubbly Sophie (Daniela Leska), staunch Albert (Bruce Ragatt), Paternal Balliol (James Payne) and comic flavours Johann (Daniel Sinfield) and Schmidt (Bernard Leon), Lyric Opera chose to lace their tragedy with delight.
Based on the novella that propelled 24 year old Goethe to fame in 1774 and strengthened Massanet’s popular foothold in 1892, the opera, originally dismissed by the French public for its serious nature, has a familiar romantic air which goes like this: young, melancholic, impulsive and impressionable poet in search of utopia falls in love with a woman out of his social sphere. Unable to bear the hum-drum of reality he takes the fashionable escape of suicide. Initially set in 1780’s Germany, Lyric Opera establishes a ‘timeless’ nature by using versatile staging (Hayley Fox), a prophetic, off-centre projector screen (Zoe Scoglio) and warm lighting (Lucy Birkenshaw). The cyclic nature of life and love showcased clearly as the tale opens and closes with innocent children, adorably cast in their pink and orange (Christina Logan-Bell), symbolically singing carols amongst Werther’s bleak and unhopeful July. As the story tells, maternal Charlotte is endlessly pulled to the emancipated Werther, who is eventually consumed by his own web of doom. In the opera world, where love, infatuation and death can take hours or seconds the death scene, which runs for the entirety of act four is a memorable moment in opera melodrama. Although a heartfelt portrayal, the lead up to act four does not lay the path to emotional wretchedness as the bubble of relationship intensity is burst intermittently by charming characters, of note Leska, oh and super heroes, along the way.
The orchestra, with their inviting silhouettes, timbres and textures, added dynamic and fluid movement to the simple set which was crafted picturesquely by the expressive hands of musical director Pat Miller. The lyrically alluring and refined score was captivating. Amidst the digestible English libretto translation this was vital as the orchestral backbone added sensitivity to the French style and nuance that the English lexicon could not convey. Miller showed a connection to the score that was intuitive and his understanding of the rich harmonies and melodic lines was a result of hard work, attention to detail and a desire for excellence. The orchestra were young, earnest and committed to their craft and provided the colour palate and air of emotional ambiguity (despite the dry acoustics) on which the vocalists could ride the unfolding tragedy.
On and off stage Sharma (previous lead singer of a heavy metal band) and Plummer (Convervatoire graduate) came from different worlds. Plummer’s poise, warm tone, impeccable articulation complimented and contrasted the alluring, charismatic Sharma. What was an odd couple suited the occasion and although no Jonas Kaufmann, Sharma showed sincerity and an earnest desire to excel, likewise did Plummer.
Far from bleak, a subtle smile will rest on the lips as this drama unfolds.
Rating; 4.5 out of 5 stars
Werther
Director: Suzanne Chaundy
Conductor: Pat Miller.
Chapel off Chapel
October 18 – 26
