<< -- 3 -- Rex Harley STRENGTHS AND WEAKNESSES
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Two of the minor characters deserve particular mention. Alan Fairs, as
the mill foreman, was vocally strong and, whether singing or silently observing,
constantly in character, as was Claire Hampton's delightful Jana. As
for the members of the chorus, they did what they could, but there were
moments, especially in the first act, when they were stuck on stage with
nothing to do, notably when Kostelnicka expatiates on her earlier, disastrous
marriage. This particular passage is one restored by Charles Mackerras,
and his collaborator Dr John Tyrell, and while it makes sense as helpful
exposition, and as a means of securing a degree of sympathy for the character,
it plays havoc with the dramatic action. Up to this point, the relatively
tight set has been full of carefully choreographed bustle. Suddenly everything
stops dead. As her story of marital brutality unfolds all the chorus can
do is pull a few faces at each other, if they're near the front, or
freeze as inconspicuously as possible if they're further back. Either
way, the effect is downright amateur.
In the end, my feeling is that both the strengths and weaknesses of this
production stem from precisely the same source: Sir Charles Mackerras and
his scrupulous attention to detail. Orchestrally, the sound is gorgeous
and the players clearly raise their game for him. But theatrically there
is a price to pay : awkward longeurs, and a text that is both clunky
and partially inaudible. The latter could be helped by recourse to surtitles,
but there remains a stubborn refusal to employ them when the audience is
listening to a performance in their native language. All I would add to
this debate is that if those of us in the stalls were hard-pushed to hear
the words, what of those up in the Gods?
Under these circumstances I am reluctant to discuss individuals'
singing. The major roles -- Jenufa, Lata, Kostelnicka and, to a lesser degree
Steva -- are even more challenging vocally than they are dramatically. At
moments, all the principals impressed, but not consistently. This is no
surprise, considering they had their work cut out competing with the orchestral
fireworks emerging from the pit. My final impression was of an unbalanced
evening, in which the orchestral element of the drama unfolded with absolute
clarity, while reducing what was happening on stage, at times, to a form
of histrionics, as the singers strove to deliver.
Copyright © 16 March 2003
Rex Harley, Cardiff, UK
WELSH NATIONAL OPERA
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