BY BEN NIELSEN
Pinchgut Opera
The Chimney Sweep by Salieri
City Recital Hall, Sydney, 5 July 2014
A rumour surfaced after Mozart’s death: Antonio Salieri had viciously poisoned him. The two had long been creative opponents, and Salieri was purportedly envious of his contemporary’s career.
It’s true that the two composers were rivals in a professional sense, but there is little evidence of a completely acrimonious relationship. Time has been the only deciding factor of the alleged feud, with Mozart’s works performed far more regularly than Salieri’s.
It is for this reason alone that Pinchgut Opera’s staging of The Chimney Sweep is such a special occasion. Sadly though, there is nothing particularly unique or engaging about the singspiel, which was originally commissioned by Emperor Joseph II in the 1780s. As it progresses, it soon becomes clear why the work has been performed so irregularly since the 1900s.
The program notes might present the plot in the most overwhelmingly convoluted fashion, yet it is actually quite simple: Volpino has promised himself to Lisel, but has also enacted a plan to seduce his female employers, the Hawks. He realises that the Hawks’ lovers are also mind-bogglingly affluent and so they too are drawn into his grand scheme.
Andrew Johnston has transcribed Leopold Auenbrugger’s original libretto with finesse. Coupled with Mark Gaal’s interpretated dialogue, The Chimney Sweep resembles something of a Gilbert and Sullivan operetta. While the well-known theatrical duo created their first work almost 100 years after Salieri wrote The Chimney Sweep, many similarities can be made. Not just between the ridiculous narratives; but also the melodies, comedy, and poetry.
Unlike the work of Gilbert and Sullivan though, Salieri makes very few overt political or cultural statements. The aria in which Miss Hawk laments the crime of women’s fashion is perhaps the most profound moment of the opera, whereas the issue of diverse love is dealt with crudely. In fact, The Chimney Sweep lacks sophistication in many aspects, not least the structure, which might have benefitted from sympathetic truncation.
Emma Kingsbury’s set is initially quite imposing (standing almost the full height of the auditorium), but is deceptively unobtrusive. The design of the grand fireplace comes to full fruition in Act III, when fire erupts and the household turns to chaos. Similarly, Luiz Pampolha’s lighting is minimal but effective, placing the spotlight well and truly on the musicians and their music.
Every member of the cast is of extraordinary ability. Alexandra Oomens (Lisel) and Amelia Farrugia (Mrs Hawk) are notable for their particularly beautiful voices, and Gary Clementson for his acting chops. Cute though they might have been, the inclusion of the Sydney Children’s Choir as Apprentice Chimney Sweeps was unclear and potentially unnecessary, considering their voices remained inaudible. The Orchestra of the Antipodes was also in fine form, as conducted by Erin Helyard.
If these great performances had been paired with an engaging narrative, The Chimney Sweep would be a guaranteed success. However, not even the occasional laugh or exhilarating song could excuse the long-winded, nearly three-hour long opera. Sometimes, works are omitted from the canon for good reason.
Image supplied. Credit: Keith Saunders.
