It is a challenge to present a modern public with something of a soap-operetta like The Merry Widow. This light work profiles gender, marriage and loyalty to a small state very specifically and in a contrasting way to our contemporary approach.
It has been said that there are two emotions, love and fear. The creative pairing of Puccini and Graeme Murphy is successful in vividly outlining such feelings in the current revival of Murphy’s stunning production.
Conductor Christian Badea presents a strong realisation of Puccini’s atmospheric score. Inspired by this music, Murphy uses intersecting movement prescribed for sub-sections of the ensemble as well as challenging unisons at times such as human waves depicting swirling emotions and troubled minds.
The setting, Peking’s Imperial Palace, is evoked with excellent composite sets and shifting textures as designed by Kristian Fredrikson. His detailed costuming and props dazzle, as does the choreography which asks for these to be manipulated during poses so as to hide or reveal the characters’ vulnerabilities or suggest general unrest. Continue reading Opera Australia’s Turandot @ The Dame Joan→