Forget the ridiculous plot, sit back, relax and succumb to the ravishing singing and glorious music.
Marvellous Pinchgut Opera this year have brought us the astonishing GRISELDA by Vivaldi. In their trademark style we have a rarely seen opera, with fresh, exciting direction ( Mark Gaal) and a focus on the music, concentrating on vividly recreating Baroque performance styles for contemporary audiences.
The plot, based on a story from Boccacio’s ‘Decameron’, with libretto by the great Goldoni, is one of those fables where the main protagonist is forced to endure arbitrary and meaningless torment, brutally testing the heroine’s fidelity and constancy, to confirm that they are ‘true’.
Griselda’s husband, Gualtiero, King of Thesally, having many years ago pretended to kill her first child, now suddenly repudiates and banishes her, because his subjects insist he marries someone of undoubted royal blood. Ottone, her suave, slimy suitor, ( the villain of the piece ) threatens to kill her second child if she does not submit to him. Corrado, the king’s brother, is in effect Gualtiero’s henchman and in on the plot.
In a ghastly sadistic twist Griselda is allowed back to court as maid to the new queen, ironically named Constanza. Gualtiero, eventually reassured of Griselda’s love and fidelity, takes her back in what is a rather contrived ‘happy ending ‘ as expected in the conventions of eighteenth century opera, but by then Griselda has been understandably extremely traumatised and hurt, as is underlined by the ending .
In the role of Griselda, tall, statuesque Caitlin Hulcup was amazing with an incredible display of virtuosity. This tricky, very demanding role was performed brilliantly, displaying passionate grief at times and quiet despair. Her tremendous, versatile voice ranged from ‘storm’ arias (a recurring theme in this opera) through to the soft moments just before she dozes off to sleep. Her bravura vocal pyrotechnics had the audience enthralled.
As her long lost daughter and rival Constanza, Miriam Allan was excellent with a terrific flexibility and varied range in this demanding role. We see the way she changes from a rather thoughtless, self-centered teenager to a caring, empathetic young woman. There is a sensational trio for Constanza, Griselda and Gualtiero – ‘ Non Piu Regina’- that makes one wish for more.
Cold, cruel, tyrannical Gualtiero, a tenor role, was marvelously and authoritatively sung by Christopher Saunders.
The other three male roles were all sung by counter tenors (in Vivaldi’s time two of the male roles were performed by castrati and a third by a mezzo-soprano). David Hansen as Ottone, which is an even more demanding coloratura fireworks role than Griselda, astonished us with his jaw- dropping scintillating range and flexibility, He stops the show towards the end of the second half with his celebratory aria ‘Dopo un’orrida procella’, when he thinks he will be marrying Griselda. Bravo.
Handsome Tobias Cole in the role of Roberto, Constanza’s aching true love, was warm, expressive and extremely impressive. (No wonder Constanza melts). In the relatively smaller, lighter role of Corrado, Russell Harcourt was terrific with beautiful control and tone.
Set design by David Fleischer was mostly atmospheric, sparse and simple, a cold grey ’tiled ‘ proscenium arch effect and a low black bench. There was a roller door for the second half that rose majestically for the wedding scenes at the end. In the second half, when poor Griselda is banished, there is garbage everywhere and everything is covered in snow and the cast are in thick parkas – reminiscent of the production RENT in a way.
The show is performed in contemporary dress and is updated to include mobile phones. There is a beautiful blue gown for Griselda at the beginning and Constanza is a fairytale vision in her wedding dress. Luiz Pamphola’s lighting was thrilling and atmospheric.
Under the sprightly, very energetic direction of Erin Helyard leading from the keyboard, the Orchestra of the Antipodes gave a magnificent performance on period instruments- mostly lush strings, supplemented by horns where appropriate.
There was rapturous applause and cheers at the end for this thrilling performance which ran for 2 hours and 45 minutes including one 20 minute interval.
Pinchgut Opera’s production of Vivaldi’s GRISELDA opened at the City Recital Hall, Angel Place on Wednesday 30th November and played for four nights only, closing on Monday 5th December, 2011.
© Lynne Lancaster
5th December, 2011
Tags: GRISELDA, Vivaldi, Pinchgut Opera, City Recital Angel Place, Erin Helyard, David Fleischer. Luiz Pamphola, Tobias Cole, Russell Harcourt, David Hansen, Christopher Saunders, Mirian Allan, Caitlin Hulcup.