'A real show-stopper' - Review: Suor Angelica at Perth Festival
Keith Bruce
four stars
The three steps up to a specially-constructed performance platform created in the middle of Perth Cathedral could not compete with the grand staircase that dominated Sir David McVicar's recent Scottish Opera staging of the central opera in Puccini's Il Trittico trilogy, but they were emblematic of the more compact success of Opera Bohemia's version in partnership with Amicus Orchestra.
Douglas Nairne's production makes the fullest possible use of the venue, which is a new one for the festival with more open sight-lines than St John's Kirk and ample room for the orchestra, which was placed beyond the stage, with the singers often making their entrances from behind the audience.
That device made the most of the reverberant acoustic for the choruses, while the instrumentalists, under the very attentive and often exuberant baton of Alistair Digges, always sounded in focus, with well-balanced wind soloists and a rich string sound. A couple of keyboards provide crucial extra sonic colour when required.
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With simple costuming, stylish stage blocking, and minimal props, the tragic tale of Sister Angelica, rejected by her family for falling pregnant and estranged from her son, unfolds in classic story-book fashion, much of the work done by Puccini's masterly scoring. In soprano Jenny Stafford, who covered the role for English National Opera, Bohemia have a fine new recruit to the more familiar faces in the company. Absolutely on top of the part vocally, she avoids any melodrama in a performance of affecting sincerity, her aria when she learns of the death of her child a real show-stopper.
Around her the women swiftly create the impression of a strict but mutually-supportive community into which Angelica's aunt, The Princess, steps as the embodiment of moral severity. Mezzo Louise Collett's nuanced approach to that role is as impressive, the latest of a series of fine performances for the company.
Sioned Gwen Davies, Cheryl Forbes and Monica McGhee add important solo voices, and the ensemble of the ten women is the production's heart, suggestive of more rehearsal time together than was probably actually available.
Although it is being seen elsewhere – including a performance on the Isle of Bute on Saturday - this is a contribution to Perth Festival of the Arts truly in the tradition of the bespoke opera productions of the event's earliest years, and it should set a template for the future.
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