There was much to celebrate in this Gala Concert: the accession of Richard Mills as Victorian Opera’s new Artistic Director; the lives of three great composers of opera – Wagner and Verdi (1813) and Britten (1913) – and the return to the stage of one of our operatic superstars, Lisa Gasteen. All of this was in the context of another first for Melbourne: being the 23rd city in the world to host the dusk to dawn cultural event, Nuit Blanche (White Night).
Both the celebratory mood and a sense of new beginnings were established on Saturday night by a New Year’s operatic favourite, Die Fledermaus. The Overture and Champagne Portrait bookended a program of selected works by the birthday composers, as well as other composers who had been inspired by Wagner and Verdi, thus providing the audience a smorgasbord of vocal, and some orchestral, highlights.
After a graceful, but fairly measured Strauss Overture, José Carbo thrilled the audience with a stirring account of Verdi’s ‘Eri tu’ from Un Ballo in Maschera. An equally stirring rendition of ‘The Anvil Chorus’ from Il Trovatore, then revealed just how good a male opera chorus can sound, following which, Carbo once again lived up to his reputation of being a superb Verdi baritone with an aria from the same opera.
And then came what we had all been waiting for and had attracted an almost capacity audience, despite the rival attraction of the Melbourne Symphony Orchestra at the Myer Music Bowl: Lisa Gasteen. Wagner’s ‘Wesendonck Lieder’ may not be exactly opera, but the songs were written while Wagner was working on Die Walküre and he referred to two of her chosen three songs as studies for Tristan und Isolde. They certainly provided an opportunity for Lisa Gasteen to display her unique gifts.
The distinctive timbre and allure of her voice, coupled with an expressive involvement with the text, were an absolute pleasure. In an interview a few years ago, Gasteen was asked what she regarded as being the key to her success. Her reply of ‘Perseverance’ was striking at the time and it was obvious that she practises what she preaches, since she has fought her way back to vocal health so successfully after suffering an accident that she feared would end her ability to sing.
Her heartfelt singing of Dido’s Lament and two songs by R. Strauss in the second half of the program was further proof of the return of her wonderful voice. How appropriate that her final words for the evening came from Zueignung: ‘…habe Dank!’ The song takes on new meaning while she gives thanks, as do we, for the restoration of her powers.
Richard Mills not only conducted, but also compered the gala. In his introductory remarks, he emphasised that a central mission of Victorian Opera is to nurture new talent. This came in the form of an excellent chorus, and some fine work from a number of soloists. Particularly impressive was Carlos E. Bárcenas, who joined Liane Keegan in a duet from Bellini’s Norma. The wildly enthusiastic response of the audience was well deserved. His warm tenor voice is strong and youthful and he has an imposing stage presence. Liane Keegan’s generous voice and extensive stage experience made for a dramatic and vocally compelling performance.
Even though some of the young soloists had limited opportunities to shine, all made effective contributions. Olivia Cranwell joined Nathan Lay and Liane Keegan for a strong performance of The Easter Hymn from Mascagni’s Cavalleria Rusticana. The chorus work in this and the Bridal March from Lohengrin proved that there is no shortage of vocal talent in Victorian Opera.
Under the baton of Richard Mills, Orchestra Victoria was also in fine form. The turbulent passion of the Storm ‘Sea Interlude’ from Peter Grimes and the burst of energy, particularly from the brass for the Act Three Prelude of Lohengrin, which began the second half of the program, were particularly powerful.
The evening ended with an exciting blend of established and new artists. An exuberant José Carbo shared his bottle of champagne with Timothy Reynolds (Frank) and an animated, bright voiced Daniel Todd (Eisenstein) – altogether a most spirited trio. Lianne Keegan shed her long black coat and wowed the audience in a glorious fuschia evening gown as she toasted them in style. It was a finale to send the audience humming out into the White Night. Some may have even followed the instructions of Premier Ted Baillieu in his opening address and remained in the streets until dawn.
It was indeed a White Night to remember.
Opera on a White Night
Victorian Opera Gala Concert
Conductor: Richard Mills
Featured Artists: Lisa Gasteen, José Carbó and Liane Keegan
Soloists (Developing Artists): Kirilie Blythman, Olivia Cranwell, Timothy Reynolds, Jeremy Kleeman, Carlos E. Bárcenas, Daniel Todd and Christine Heald
Soloists: Brenton Spiteri, Matthew Tng and Nathan Lay
Hamer Hall, Melbourne
23 February
