Idomeneo
Mozart's Idomeneo is said to have been his personal favourite in all his extraordinary body of work. Pinchgut's 2006 production, directed by Lindy Hume, made it easy to see why.
Staged simply but effectively in the crisp acoustics of the City Recital Hall, the production's minimalism foregrounded the music and the singers in a way that a more elaborate staging might have obscured; the company's financial constraints turning into a plus for the audience.
At the same time, with less than a week's worth of performances on offer, punters need to be on the alert and cluey if they're not to miss one of Sydney's annual special events: after the baroque treasures of Orfeo, Dardanus, Semele and The Fairy Queen, the company deserves a bit of faith to be demonstrated in forward bookings. At the same time, this year's move into Mozart territory also offered a new perspective on Pinchgut's ambitions and abilities.
For starters, inviting Lindy Hume to direct the production ran a flag of serious intent up the Pinchgut pole. Currently on her third and final stint as artistic director of the Perth Festival, Hume is actually one of Australia's best realisers of opera and was also responsible for Opera Australia's 2006 highlight: the long-awaited arrival in Sydney of Batavia.
Both productions exhibited Hume's flair for drawing vivid acting performances out of the chorus - singers who, more often than not, are left to their own devices and generally stand around like logs.
Cantillation is the choral ensemble attached to Pinchgut and Hume's work with the group was electrifying. The singers lived naturally on the stark, barnacle-encrusted jetty and sandy beach of the opera's ancient Greek setting setting; with the Orchestra of the Antipodes arrayed below and in front of the performers, the result was at once integrated and clearly defined.
The principals were splendid: English tenor Mark Tucker was powerful and tragic in the title role of the king forced to sacrifice his beloved son to the gods. Mezzo-soprano Fiona Campbell had a heroic Prince Valiant quality, both in her pure true voice and appearance as the son, Idamante. Martene Grimson's rich soprano and glamour made a striking Ilia of Troy - the wilful princess who fancies herself as Idamante's bride. In contrast, Penelope Mills's lighter voice and gentle performance was the obvious reason why Elettra was Idamante's true love. And Paul McMahon's Arbace was as solid as such support must be.
With conductor Antony Walker whipping them along briskly, the orchestra and singers achieved dramatic and musical clarity that was thrilling, moving and horrifying - as the story of the near-sacrifice and final triumph of true love was played out.
Idomeneo was recorded during performance and will be released on CD towards the end of 2007, by which time sensible people will already have booked tickets for Pinchgut's next production - whatever it might turn out to be.
