Page 88 - FINAL_Theatre of Sound Coverage Book

Daisy Evans herself says that her production “reimagines… as a
love story between a long-married couple, coming to terms with
living with dementia”. It is set on an intimate thrust stage using a

split level set and with the sextet accompanying behind the
audience. The opera has been re-orchestrated and is conducted by
Stephen Higgins and is in fact very successful, especially as played
by members of the London Sinfonietta.

The production is greatly aided by subtle yet imaginative lighting
design by Jake Wiltshire, helping establish the mood of the piece
and at times lighting all of Stone Nest, a former chapel, with vivid
colours.

American Michael Mayes is Bluebeard and is superb in every way.
He is a real singing actor, blessed with a gloriously rich bass-
baritone voice and a perfect technique that ensures that his singing
never sounds at all strained and has a wonderful glowing tone
throughout its compass. He does not just sing however, he uses the
words intelligently and imaginatively to portray his role, as well as

using his physicality to express what he means – often very subtly.
As I have already intimated, his enunciation is well nigh perfect and
his final monologue is very moving. He has that rare quality –
charisma: you have to watch him!

The Northampton born soprano Gweneth Ann Rand is Judith,
seemingly not yet quite at home in the role. She concentrated more
on beauty of expression rather than enunciation of the words, and
seemed most at ease in the role when seated.

The ensemble (Bukelwa Kunene, Lizzie Frain, Ruchika Jain, Eliza
Beth Stevens, John Kamau) who the director used as examples of
Bluebeard’s past loves and family, must be congratulated on their
stillness and never doing too much: they all greatly aided the
atmosphere of the production.

Not, perhaps, a production for “opera newbies”, but certainly one
giving much food for thought, even if the dementia element could
have been made clearer.