Silk Street Theatre, Guildhall School of Music and Drama, 3.6.09
These two rare one-act tales of nuptial shenanigans by Bohuslav Martinů and Gioachino Rossini probably fall just short of the label ‘miniature masterpieces’. But their respective productions at the Guildhall School invested them with more thought, commitment and dramatic vision than some professional opera companies would works of repertoire status. The results are refreshing, lively and surely the most ringing endorsement of their creations the two composers could have wished for.
And Bohuslav Martinů would have been wishing for a long time: his 1952 television opera The Marriage is receiving its first UK performance here. The Gogol-based libretto has some wry (and some dated) observations and is effectively and cleverly framed here by moving small-screen-size prosceniums. These frame the tale of government official Podkolyosin – suavely played in grey Gogolian dramatic hues but a naturally warm baritone by Duncan Rock – and the gaggle of ne’er-do-wells who involve themselves in his attempts to win a bride. The most complete performance comes from Emily Steventon as the matchmaker Fyokla. She is dramatically malleable and invests her voice with character, too. Tenor Nicky Spence as Kochkaryov has a rich and impressive voice that’s one-size bigger, but his larger-than-life portrayal is occasionally at odds with the dramatic contours of the production, despite his highly developed stagecraft.
Immediately striking in this piece is the quality of orchestral playing under Clive Timms. The student orchestra’s strings despatch layers of rich, wooden tone, while on the outer edges Martinů’s distinctive lunges into piano-panic and timpani-tantrums are spirited and confident. When Podkolyosin rapturously proclaims his love at the work’s dramatic apex, the lyrical unity of players and singer is nailed.
The directorial vision bestowed upon Rossini’s one-act farce La cambiale di matrimonio by Alessandro Talevi is extraordinarily astute, imaginative and visionary for a production in a student theatre. Rossini’s tale of a financially arranged marriage threatening to break the heart of two young lovers was transported to a seedy lap-dancing club. The orchestra launched into Rossini’s overture with Classical poise but great energy, accompanied by a partially visible dance routine that could so easily have worn thin at the recapitulation. It didn’t, and that set the tone for the rest of the production.
Characterisation here is a level deeper than in the Martinů, and you could feel – as in the best productions – a sense of belief in the dramatic vision that drew the best from the cast. Outstanding was Derek Welton as the oppressive father; his elastic, chocolatey baritone never faltered (except when he meant it to), while his overall performance would have impressed on the professional opera stage. He was supported by the developing yet impressive coloratura of soprano Rebecca van den Burgh who committed all to the role, and some amusing puppyish antics from her non-financial love interest played by Carlos Nogueira. Though some of the tongue-in-cheek dance movements admittedly wore a little thin and nearly grated against the effortless élan of Rossini’s music, this production’s eye for detail and imagination propelled it forward. The ensemble piece mid-way through was a fine company achievement and highlighted vocal sensitivity as well as flair. All in all, the sort of entertainment you wouldn’t mind paying Covent Garden prices for.
Andrew Mellor
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