Page 61 - FINAL_Theatre of Sound Coverage Book

SB: This version of Bluebeard certainly brings us into the present day with quite a
jolt. Dementia is very present in our lives and many of the people who will see this
production will have some experience of family members or friends who have had
dementia and what caring for them entails. The story really lends itself to this
concept and I think it will be incredibly moving.

OW: This will be an intimate chamber reading. How does

it differ from singing the work in a bigger and more grand
setting?

GF: The chamber arrangement by Stephen Higgins (Theatre of Sound co-founder)
captures the power and breadth of the sound world as might be experienced by
someone living with dementia. All of Bartok’s notes remain, but the “voice” of the
ensemble although muted still maintains the color palate. This score in its original
form is a vast palate of color, but Stephen has skillfully maintained the highlights and
shades of the music, whilst allowing the intimacy to be believable and powerful.

SB: This is my first Judith so I have no experience of singing it with the full power of
a huge orchestra behind me. We did a workshop in the spring using the smaller
orchestral forces that our version employs, and it was surprising that even with so
few instruments, the range and colors that are available to us are huge. It doesn’t
lose impact or power and the intimacy works well with the dramatic ideas.

OW: As you reinterpret the opera, what are some

elements of the character of Bluebeard/Judith you are

discovering and what are some elements that you have
brought over from past productions you have done?

GF: My role of Bluebeard is very elusive. In the first part, he speaks very seldom,
and this has been seen in large-scale productions as showing his character of
subterfuge and deception. In this version, the single words and hesitancy show it is a
struggle for him to ask the correct questions to enable even a simple conversation.
Later in the opera, he sings passionately of his love. This is the same whether in this
or other versions. It is impressive in the original version, but it is heartbreaking in this
version.

SB: I can’t really answer this regarding previous productions as it is my first time in
the role, but what I have found in preparing it is that Judith is a strong, complex
person, she needs to know what has happened and is happening at the castle and
she is persistent in her quest to discover this information. She has a wide dramatic
and vocal range, from gentle lyricism to becoming almost hysterical and very
dramatic.