BY ALISON PARIS, LEAD WRITER (CHILDREN AND EARLY LEARNING)
A Flowering Tree
Opera Queensland
QPAC, 2 April 2019
When Opera Queensland’s 2019 season was announced, A Flowering Tree was the production I was both most curious, and most apprehensive about. John Adams is rarely performed in Australia, and I was excited to see a work with such a fantastical and strange story. At the same time, I wondered how an opera such as this would fare as a semi-staged production in the Queensland Performing Arts Centre’s concert hall.
My worries were quickly put to rest, however, as I found the display of the work’s images abstract, creative, and incredibly striking, although used sparingly.
A Flowering Tree is an opera in two acts by American composer Adams, commissioned for a festival commemorating the 250-year anniversary of Mozart’s birth. Based on an Indian folktale, and with Mozart’s Die Zauberflöte as an inspiration, the story follows a young woman with the power to transform into a tree abundant with flowers, as was outlined for us in the accompanying notes.
The use of large curtains hanging above the stage coupled with Jason Glenwrite’s colourful lighting created an atmosphere that extended the emotions of Kumudha, as well as being symbolic of her transformation process. I found the use of video projection on the back curtains to enhance the story at some points, such as when the mother beats Kumudha in Act One. At other points, however, it was a little distracting, particularly when it was simply showing close-ups of the orchestra or chorus. I found that this really took me out of the story, and therefore the emotional impact was lessened.
That said, the images displayed at the ends of both acts were truly inspired, and went hand-in-hand with the abstract nature of the opera’s story. The soaring material and confetti inspired the audience to envision Kumudha’s transformation, rather than to simply be shown what it is.
Perhaps the most visually engaging element of the production was the intricate costuming, led by head of wardrobe Karen Cochet. The standout costume was Kumudha’s beautifully morose attire in the second act, after the Prince’s sisters mistreat her and she turns into a limbless stump. Coupled with striking makeup, this costume was really incredible, and embodied the haunting image of a broken Kumudha.
The choice to semi-stage A Flowering Tree allowed the audience to really focus on the music. With a small cast of only three soloists – Eva Kong as Kumudha, Adrian Dwyer as the Prince, and Craig Colclough as the Storyteller – the production felt very intimate. All soloists were fantastic in their musicality and characterisation, but Colclough I found particularly charismatic, with impressive diction and presence. His portrayal of the narrator was reminiscent of a storyteller from a children’s story, giving the whole production a sense of quirkiness and eccentricity.
Conductor Natalie Murray Beale’s expertise was evident throughout, and the orchestra performed with control and liveliness. Having worked alongside the composer himself, Beale had an apparent familiarity with the style and effect of the opera.
An experience such as this is a rare opportunity in Australia, this work in particular never having been performed in Queensland until its premiere. It seemed a risky move for Opera Queensland to open its season with such an unusual production, but I felt the change was refreshing and necessary.
READ NEXT: Emma Nightingale talks about her role in A Flowering Tree.
Images supplied.
