L’Enfant/Olympia Kammeroper Vienna
Fri March 15th 2019
When I first read about this as a double bill I was most intrigued – and seeing it confirmed that it worked really well as it had clearly been well thought through – and there was an element of ‘why has no-ne done that before’. Great example of thinking outside of the box and it really working. It would be interesting to see if there are any other possibilities in this was – what could go with other single short operas to ‘make a connection like Trittico and Cav and Pag?
Hoffman the adult poet was a permanent figure in both – in the Ravel as an onlooker having entered back into his childhood world through a funfair portal (see accompanying photo)and as the central character in the Olympia act of his ‘Tales’. I thought it was and excellent idea to use the funfair portal as a starting point. Perhaps through reading too much ray Bradbury and Stephen king I have always found those sort of settings rather deliciously sinister and the look of this one confirmed that. There was a definite Tim Burton aesthetic at work – but not excessively so. In fact the whole event –the two operas was I thought a good (and often too rare) example of the ‘total art work’ (Gesamtkunstwerk) dreamed of by Wagner – movement/sound/images/lighting all contributed in a thoughtful and balanced way to the evening, neither element over-dominant.
The movement in the Ravel was particularly effective – having adults as animals or children is always difficult and often wildly unconvincing but here, particularly with the animals, there seemed to be a fascinating balance achieved where I was aware that I was watching humans and yet at he same time they were wholly and convincingly animal in moves and gestures and spirit. Not sure how this was achieved (100% belief and commitment must have played a big part) but it worked wonderfully well. It was powerfully effective and moving having Hoffman watch his younger self. I also loved the fact that the last word spoken in this was ‘amore’ -the main focus of both works and I felt that it provided an effective link between the two works. H
In the Offenbach the funfair look/scene was there but it had become Spalanzani’s abode and the sinister look was definitely appropriate and effective for what he was doing. In this scene too I loved the way the Olympia was only ‘alive’ when she was interacting with Hoffman; I’ve seen it done where she is a doll all the time and this destroys sympathy and empathy for Hoffman as we naturally think ‘how come you are convinced by this; what an idiot.
As always with this company, the signing was first-rate – and the acting too as the standard of acting expected and achieved by young singers is infinitely better than in the past – unless the voice is totally remarkable, I do not think it is possible NOT to be at least a convincing actor in opera even if not a great one. A superb evening – and so glad I have discovered this place!