Image result for scottish opera opera highlights 2019

 


Volunteer Hall
Duns
26/02/2019


Opera is one of the most Universal creations of Humanity, the Esparanto of the arts. Sung in various languages to various language groups, the emotions which transpire between singers & audience is always understood. Such universality aids Scottish Opera to whisk itself upon the wings of appreciative applause about the entire Caledonian Wood. Venues on the Outer Hebrides & at Durness, near Cape Wrath, show the far-reaching remit of the tour. For my encounter I thought I would head to the tour’s most easterly visit – Duns in the Scottish Borders, a delightful drive over the Lammermuirs, dimly lit by the passing of the day, dozens of rabbits scattering before me quite albino in the full beam of the headlights. On reaching delightful Duns I found myself at the cavernous Volunteer Hall – purchased recently by the ‘A Heart for Duns’ group – alongside a healthy assemblage of local opera-lovers all wondering what ‘highlights’ we were actually to witness, & how would they be done!

Obviously a full cast, orchestra & wardrobe would be impractical for such an effort – therefore only two male singers, two female singers, & a pianist are sent out to do the good work. These are Lucy Anderson – the Robertson Trust Scottish Opera Emerging Artist for 2018-19; Scottish mezzo-soprano Heather Ireson; & making their S.O. debuts were tenor Tom Smith & Baritone Harry Thatcher. Accompanying their comblended & unwavering, streamlined voices was galloping pianist & musical director, Elizabeth Rowe; together the ensemble provided a frivolously fun cocktail of talent, quirky characterizations & ‘picaresque delight.’

Image result for lucy anderson scottish opera

Heather Ireson (l) & Lucy Anderson (r)

Opera Highlights is a most entertaining, multi-lingual jaunt, threaded loosely together by a narrative, & examples, of what a good opera should include. Of the concept, director Sara Brodie told The Mumble that the journey is, ‘an episodic adventure through many realms.’ It was all that, yes, & was more than wonderfully sung, if a little hamly acted at times. We heard 21 pieces by the end; Che faro senza Euridice from Orfe ed Euridice, Csardas from Die Fledermaus & Faery Song from the Immortal Hour were my favorites. It really was a successfully wrought dream sequence, a true chocolate box of delights when at no point did I find myself chewing one of those tough toffee ones from a Quality Street collection.

Damian Beeson Bullen

Advertisements