One of the most unusual works I have seen in a while, the world premiere of MAYAKOVSKY, composed by Michael Smetanin and libretto by Alison Croggon, is given a powerful, striking performance at Carriageworks by the Sydney Chamber Opera.
Electronic music is combined with jazz and amazing singing (among other styles) in the eclectic, fractured and disjointed, very contemporary score. It combines a small woodwind and brass ensemble with guitar, piano, percussion and electronics and was led by conductor and pianist Jack Symonds who navigated the complex and difficult score with excellent focus.
Staging is minimalist, with a box lit from underneath (for example for Lenin and Stalin to stand on) and six vertically hanging panels. There is also a vertically hanging ‘mobile’. Exciting use is made of projections and very eloquent, atmospheric lighting.
The opera is sung in English with some quotes in Russian, but the text is provided in English surtitles on the side wall. A splendid cast of six plus orchestra give a dynamic, challenging performance.
MAYAKOVSKY tells the incendiary story of the tempestuous yet short life of Russian revolutionary and poet Vladimir Mayakovsky, who is sometimes referred to as Stalin’s favourite poet. The work attempts to blend Russian Futurism with hypermodern electronica in a roller-coaster ride through turbulent 20th century Russian history. The piece’s epic canvas is populated by a parade of figures: lovers, apparatchiks, proletarians, writers, radicals, and Stalin himself. It starts with a crackly voice from the future and ends in horror. It is strong, defiant and yet strangely compelling. The piece deals with Mayakovsky’s fight to preserve poetry, art and creativity in the midst of the Revolution attempting to destroy it.
In the first half, which is rather anarchic and idealistic,we see the evolution of Socialist Utopianism under Lenin and the flowering of his love for Lilya, the greatest of all of his loves.In the second, darker half, with Russia ominously under Stalin, the cold technocrats whom Mayakovsky had only contempt for, defeat and destroy him. Mayakovsky says poetry is dead, Lilya says it will live, but paradoxically this turns out to require his death. “Mayakovsky alive is a bear without a head: dead, he is the greatest of poets.”
There are, in effect, two Mayakovskys, one , the ‘main’ Mayakovsky as portrayed by Simon Lobelson, and his other (inner?) self ‘The Author’ from the future, portrayed by Brenton Spiteri. Their conflict creates a battle between ego and alter-ego, between private soul and public mask, that, in effect, becomes the framework for the narrative structure for the show. Lobelson is powerful, charismatic and dramatic in shiny black and has an incredible bass voice. He is complemented by younger, bearded Spiteri as The Author, attempting to outwit anarchy with rationalizations. Spiteri ,who looks like an Italian Renaissance duke, has a fine baritone and gives a great performance. Their meeting and duet towards the climax is compelling. All ends in a flurry of blood.
There are three women performers all great but they are rather two dimensional except for Lilya the great love of his life– sensationally played, all in black, by thin, dark, elfin Jessica O’Donoghue. Sarah Toth and Lotte Betts-Dean complete the cast of automatons, lovers and bourgeios proles with piercing, resplendent sound .They represent The People and at times chillingly have quite automated choreography. Lenin and Stalin are played tremendously by Mitchell Riley.
Challenging and exciting, this is Sydney Chamber Opera’s main production for 2014 and is the only new opera by a living composer that you’ll be able to catch in Sydney for the rest of the year. It brings the pulsating energy of rebellion to Carriageworks.
Sydney Chamber Opera’s production of MAYAKOVSKY is playing at Carriageworks until the 2nd August. Running time 90 mins (approx) no interval.
For more about Mayakovsky, visit http://www.carriageworks.com.au/?page=Event&event=Mayakovsky