BY STEPHANIE ESLAKE
Hobart Baroque Festival
Directed by Chas Rader-Shieber and conducted by Erin Helyard (Orchestra of the Antipodes)
Orlando by Handel
Theatre Royal, 2 April 2014
‘Make love not war’ has never been poorer advice than in the case of Orlando, the lovesick knight who turns his back on battle in order to follow an unrequited obsession with the cunning Angelica. The opera, named after Handel’s twisted male character, was magnificently performed as the central attraction of the Hobart Baroque festival in the capital city’s intimate Theatre Royal.
With Verdi, Beethoven, and Brahms watching over the audience from their painted portraits on the theatre roof, I knew I was in good company. The red certain rose to reveal a lopsided stage, which was initially disorienting but later provided the perfect visual platform for Orlando’s descent into jealousy-induced madness. Randall Scotting’s entry as the principal countertenor was as strong as one would expect when considering his extensive background in baroque opera.
Bass baritone Tom Corbeil’s take on the peace-keeping magician Zoroastro was witty and engaging, but he was too often drowned out by the ensemble in the pit. This was especially the case when he sang the lowest notes which were often the most satisfying to listen to. Dorinda, however, had me at hello. Anna Davidson portrayed an extremely likeable and down-to-earth shepherdess and acted the part as naturally as she sung it. Dorinda was a charmingly open book, in love with the opera’s second countertenor Medoro, played by Daniel Bubeck.
It’s an unusual delight to watch a production where almost half of the cast is performed by countertenors. Daniel’s Modoro complimented his counterparts in tone and emotional chemistry – and he had his moment during a beautiful aria in the second act.
The second act revealed the slanted stage crowded with candlesticks, each alight with its own gorgeously flickering flame. It did make me a little nervous considering the stage had caught on fire exactly 20 years ago! But, ironies aside, it created a stunning atmosphere. While the production was incredible well cast, the real star of the show was undoubtedly soprano Kathryn Lewek, who played the sought after Angelica. She played the perfect cunning character – wise and cheeky. Her deep instrument delivered a clear tone with entirely appropriate expression, and a near flawless performance if not for her loud inhales.
The quaint Theatre Royal was a well-chosen venue for this smashing small-scale opera, and if the Hobart Baroque festival presents such a performance in 2015 it will no doubt staple itself as a truly world-class event well into the future.
Image supplied. Credit: Rosie Hastie.
