BY MICHAEL HAMMELMANN
‘Seven Deadly Sins’ by Langdon, Viggiani, Wells & Whitney
‘Die Sieben Todsünden’ by Weill & Brecht
Victorian Opera
Hamer hall, Arts centre Melbourne, 6 November
A hugely publicised event, Victorian Opera’s one-night presentation of the new work of the ‘Seven Deadly Sins’ composed by four young Australians along with its traditional equivalent in the second part of the evening displayed wit, charm and all-round class. The Australian version takes place across Hobart, Adelaide, Brisbane, Melbourne, Canberra, Perth and Sydney, with each of these cities correlating with one sin. Hobart experiences Envy in which Prince Alfredo must choose a wife from a selection of three princesses on the game show ‘Pick a Prince’, and Adelaide tells the story of Gluttony in which food critic Bob attempts to part ways with his arch-enemy Appetite. The lustful side of Sydney is also explored when three couples brunch at a café in Sydney’s Inner West with their lives gradually interweaving, whilst the sins of Anger, Greed, Pride and Sloth are paired with Perth, Melbourne, Canberra and Brisbane. The original account of the ‘Seven Deadly Sins’ centres on the character of Anna, who is sent out into the world to raise enough money so her family can build a house in Louisiana. Along the way she encounters the temptation of the seven deadly sins in cities such as Los Angeles, Memphis and Boston.
The Australian account of the ‘Seven Deadly Sins’ was exceedingly entertaining with all aspects from composition to lighting masterfully accomplished. This new work featured typically blunt and crass Australian humour, giving the production an overall nationalistic atmosphere. Characteristics of the work such as the prologue were an absolute stroke of genius; it immediately dispelled the mystery behind why cities were assigned certain sins by way of humorous and clever remarks which instantly connected with the Australian audience. The sin of Pride, which took place in Canberra, was particularly fascinating as it took aim at Australia’s recent political events in a comical manner. Brisbane, Perth and Sydney’s exploration of Sloth, Anger and Lust respectively were musically vibrant and enthralling. Furthermore, the change in lighting colour in accordance with each sin was well thought out.
The graduating students from the Master of Music (Opera Performance) program, who were involved in this performance, demonstrated exceptional vocal skills. Nathan Lay and Mathew Tng’s performance in the Brisbane segment was particularly advantageous as both voices blended well. Elizabeth Lewis provided a strong tone in her role as Rossana, which was balanced by Cristina Russo’s light and delicate timbre in the Anger segment of Perth, which happened to have a plot line very reminiscent of the bitter feud over Lang Hancock’s estate. A highpoint of the work was the whole cast’s performance of the vocally dense Melbourne section of greed in which all involved conveyed a powerful and resonant quality that carried throughout Hamer Hall.
International cabaret star Meow Meow’s portrayal of Anna 1 and Anna 2 in Weill and Brecht’s last major collaboration of ‘Die Sieben Totsünden’ was undoubtedly the highlight of the evening. She displayed a deep and rich tonal excellence, while enchanting the audience with her unique charisma. Meow Meow’s interpretation of Anna was further aided by a strong grasp of the German language and her abilities in dance. The overall brilliance of this performance was further enhanced by the quartet of Michael Petruccelli, Carlos E. Bárcenas, Nathan Lay and Jeremy Kleeman in their depiction of Anna’s family as well as the ever-reliant Orchestra Victoria under the energetic baton of Tahu Matheson.
Victorian Opera’s production of the new Australian work of the ‘Seven Deadly Sins’ as well as the traditional version was an engaging event which demonstrated the capabilities of Australia’s emerging young singers accompanied by an elegant performance from an international cabaret star.
Image supplied, credit Charlie Kinross.
