Diana Carroll is an arts writer and reviewer - READ MORE HERE




OPERA - Fidelio
State Opera of South Australia

DIANA CARROLL - Reviewer
INDAILY - 15.10.12

ONE wonders why the mighty Ludwig van Beethoven persevered with Fidelio. Apparently he wasn't happy with it, rewriting major sections, including the overture, three or four times. It might have been better if he'd kept the score and thrown away the libretto. Fidelio is a dramatic muddle – a tragi-comedy that claims some sort of serious agenda but is firmly rooted in classical operatic conceits and predictable plot-turns. The bad guy wears a black cloak, the audience boos, and love conquers all. It is really just panto for posh people.

The music is marvellously Beethovian. The complex orchestration is powerfully symphonic with intense thematic structures. Such powerful music demands full projection from the singers to create a dynamic partnership. Unfortunately, in this performance, the vocals did not have the depth to match the orchestra. I wanted more passion from the females and more power from the males.

The Adelaide Symphony Orchestra, under the charismatic baton of Graham Abbott, sounded restrained, but still the orchestra overwhelmed the singing, especially in the first act. The music is so superb that I wanted to hear it in all its intensity. Even so, the players did a magnificent job.

Opera should be all about the singing, and the principals were very good. Miriam Gordon-Stewart missed her opening night in the title role due to illness but Nicole Youl stepped in and hit her notes perfectly, reprising a role she played for Opera Australia a couple of years ago. Youl does not convince as a man, but few singers do manage opera's bizarre gender-shifting with any real authority. I just so wanted her to have a bigger voice.

Richard Crawley was excellent as Florestan, but unfortunately he is unseen for most of the performance. I especially liked Virgilio Marino as Jacquino. The male chorus was also in good voice. "The Prisoners' Chorus", sung as they emerge from their cells in the dungeons, is a great moment, even if the choreography did threaten to segue into Thriller. Ultimately, Fidelio is about love, not politics or injustice, but the climax sadly lacks the chemistry it so desperately needs. The set is impressive, striking an imposing facade of height and depth, but it could be made more menacing to frame the drama. Do see Fidelio if you can – it's a musical curiosity and this production offers the opportunity to see and hear some very talented performers.

Fidelio is playing at the Adelaide Festival Theatre again on October 16, 18 and 20.

ENDS.