Arthur Sullivan (1842-1900)
\nLibretto by W.S. Gilbert (1836-1911)
\nNew edition and revised lyrics by Jo Davies for English National Opera
\nDirector: Jo Davies
\nConductor: Chris Hopkins<\/p>\n
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The Yeomen of the Guard (1888) falls about two thirds of the way through W.S. Gilbert and Sir Arthur Sullivan\u2019s collaboration and at the point where the relationship was fracturing, Sullivan tiring of Gilbert\u2019s taste for plots based around magic or Shakespeare-style birth switches. Sullivan prevailed: Yeomen casts fully believable characters and is their only opera with a serious ending, making it perhaps the strongest candidate for English National Opera (ENO) treatment.<\/p>\n
This production is updated from the original first Elizabethan age to the second, set in the early 1950s, opening with a clever mix of projected archive news footage coupled with scene-setting material over the overture. The libretto is updated too, by director Jo Davies who has removed most of the Elizabethan pronouns, though a little idiosyncratically they are retained in the sung vocals.<\/p>\n
Following a lyrically-sung opening by Heather Lowe as Phoebe came the double-chorus number, utilising something in the order of 24 men collectively generating a fabulous sound, each of the eight parts being both clear and blended \u2013 excellent work from conductor Chris Hopkins and chorus director Mark Biggins.<\/p>\n
Of similar high standard was Susan Bickley as a feisty Dame Carruthers, Neal Davies as a warm Sergeant Meryll and Anthony Gregory as a rugged, carefree Colonel Fairfax in the lead-up to the entry of Yeomen\u2019s central couple, Jack Point and Elsie Maynard (Richard MacCabe and Alexandra Oomens). She sings beautifully; he, unfortunately, does not, lacking diction, breath control, tempo management and intonation. Whilst that just might be carried in Sasha Regan or Charles Court Theatre\u2019s more musicals-style approach to the Savoy operas, in ENO\u2019s company it stood out like a sore thumb. That said, MacCabe is a fine actor (an RSC associate actor and winner of Olivier and Tony awards) shining in his dialogue, particularly in his banter with John Molloy\u2019s William Shadbolt in act 2. All in all a regrettable miscasting, in my opinion.<\/p>\n
Perhaps this affected the cast, or the audience, or both, but from here on the production seemed a little staid \u2013 none more so in a decidedly sluggish \u2018My mind is fully open\u2019 substituted in from Ruddigore in place of the usual Dame Carruthers and Sergeant Meryll duet \u2018Rapture! Rapture!\u2019 I liked this idea, having always found the original number contextually odd, but here we were served something a long way short of \u2018particularly rapid unintelligible patter\u2019.<\/p>\n
A mixed bag of a production, I think intended to please the purists, the modernisers, those out to see a \u2018name\u2019 and those out for an evening of fine music – but in the end not quite hitting the mark for anyone.<\/p>\n
Lucas Elkin<\/p>\n","protected":false},"excerpt":{"rendered":"
Arthur Sullivan (1842-1900) Libretto by W.S. Gilbert (1836-1911) New edition and revised lyrics by Jo Davies for English National Opera Director: Jo Davies Conductor: Chris Hopkins The Yeomen of the Guard (1888) falls about two thirds of the way through … Continue reading