I rather enjoyed Mark-Anthony Turnage’s Anna Nicole, but at the time wondered whether it was because of the strong production directed by Richard Jones rather than its musical merits. Those two are paired again for Festen, and Jones has produced yet another fabulous show, but Turnage’s music is more arresting this time, and it’s use of silence carries a punch (provided it’s not punctuated by some idiot’s phone going off). The plot revolves around one of those ghastly family do’s from hell where skeletons fall out of closets and relatives display terrible fashion sense, dance moves and opinions. It’s a tragicomedy where nothing changes despite the revelations. Turnage is a magpie, collecting a huge range of different styles and idioms, but integrates them with purpose and effect. A conga, used to lighten the tone following the dropping of another bombshell, starts gaily (streamers drop in the auditorium), but becomes increasingly menacing and wonky, like a Latin infused La Valse. Towards the end, the shade of one of the siblings sings a ravishing aria, quoting Julian of Norwich, which applies balm to her brother, the tortured Christian (magnificently sung by Allan Clayton, a very Peter Grimes vibe). This is followed by a magnificent orchestral interlude that starts with Brittenesque gull-like swirls before morphing into Bergian territory, recalling the great apotheosis in Wozzeck, both in style and purpose. Rather cleverly, the large ensemble cast are all distinct from one another, a tribute to the vocal writing which delineates them, and their acting skills (and Susan Bickley as Grandma lets out a scream that would frighten Clytemnestra).
Although only 90 minutes long, it packs an awful lot in. The orchestra conducted by Edward Gardiner played with fabulous precision, the coordination between pit and stage was pin sharp.
It’s difficult to assimilate everything in a new opera on a first encounter, it’s the very definition of sensory overload, but I’d certainly want to experience this again. Turnage took a bow at the end and was enthusiastically applauded. It must be exhilarating for him to see and hear his work realised to such a high standard. Hopefully it will be recorded for subsequent broadcast.
Now to read what the professional critics thought of it.
Although only 90 minutes long, it packs an awful lot in. The orchestra conducted by Edward Gardiner played with fabulous precision, the coordination between pit and stage was pin sharp.
It’s difficult to assimilate everything in a new opera on a first encounter, it’s the very definition of sensory overload, but I’d certainly want to experience this again. Turnage took a bow at the end and was enthusiastically applauded. It must be exhilarating for him to see and hear his work realised to such a high standard. Hopefully it will be recorded for subsequent broadcast.
Now to read what the professional critics thought of it.
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