Theatre Royal, Waterford
Opera Theatre Company’s much publicised touring production of Monteverdi’s Orfeo is currently visiting theatres around Ireland for the rest of June.
The unsuspecting could do with a little warning. Composed in 1607 and the first surviving masterpiece of a fledgling genre, Orfeo is profoundly different from operas by Handel a century later or Mozart after that. Among the chief differences is narrative pace, with Orfeo all but static much of the time. This increases the pressure on the creative team and cast: an audience deprived of action needs everything to sound and look really good.
OTC was successful in much of this. For sounding good, the players led the way. The small ensemble of period strings, brass and keyboards provided a persuasive and authentic sound-world full of beautiful early baroque colours and idiom under the incisive and fluent direction of Andrew Synnott.
The success of the singing was more mixed. There was a cast of just eight, all young, all with the kind of firm, clear voices you’d hope for in a period-conscious performance, all avoiding anachronistic mannerisms from the 19th century. And yet there was a pervasive stylistic shortfall. Although well coached and prepared, with features such as peculiar early baroque ornaments faithfully observed, the voices seemed uniformly unready, simply not yet specialised enough for the particular demands of the era.
This aside, there were many moments of dramatic power from tenor Oliver Mercer in the title role. The most interesting voice in the cast was that of Karolina Blixt in the various roles for alto, sometimes a little under the note but otherwise a consistently intense presence.
Making the most of their brief vocal contributions were Sadhbh Dennedy as both Euridice and Musica, and bass Matthew Trevino as Caronte and Plutone. while the surest solo moments from within the chorus came from soprano Daire Halpin and baritone Padraic Rowan.
The production’s great triumph is its wonderful look. Director Ben Barnes has taken the story out of its mythical origins and relocated it some time in the mid-20th century, lovingly evoked by the sets and costumes of Joe Vanek and the discreet but highly expressive lighting of John Comiskey.
Perhaps the most important input of all – for such sedately paced story-telling – came from movement director Libby Seward, constantly reflecting the inner drama and making her young attractive cast look good and look interesting at every moment.
