Tag Archives: Alex Bevan

REVIEW: Opera Highlights (Scottish Opera) – Motherwell Theatre

There’s much to delight in every season at Scottish Opera, but the annual Opera Highlights tour is always a shining star of the programme.

We’re invited to a beautiful country garden where our protagonists are setting the scene for a party. We’re not exactly sure who our host is, but while the action unfolds we are introduced to each character, a little of their back stories and their relationship to one other. The inevitable cases of mistaken identity, star-crossed lovers, heartache and romantic resolution ensue.

Scottish Opera 2019 Autumn Highlights – © Julie Broadfoot – http://www.juliebee.co.uk

Derek Clark, Scottish Opera’s Head of Music has again chosen an eclectic and engaging set of arias, from the comic to the heart-breaking on which to weave the lively narrative. Among pieces by Mozart, Handel, Lehár and Tchaikovsky there are works by Ambroise Thomas, Jean-Baptiste Lully, Mildred Jessup, Alfred Cellier and the great Kurt Weill. There is also a world premier from Scottish Opera’s Composer in residence Samuel Bordoli. As fitting for a tour that’s aim is to bring new audiences to opera, there are a large number of pieces in English, either pieces original written in the language or in translation, increasing the accessibility for opera newbies.

Scottish Opera 2019 Autumn Highlights – © Julie Broadfoot – http://www.juliebee.co.uk

As important as the selection of music is, much depends on the quality of the singers. This year the calibre is universally excellent. The quartet: Soprano Charlie Drummond, Mezzo Martha Jones, Tenor Alex Bevan and Baritone Mark Nathan, as well as having fine voices, are easy to warm to, each can act and draw the audience in, keeping them engaged throughout. Of note is Roxana Haines direction, which is tight and breathes even more life into the already sprightly programme.

Scottish Opera 2019 Autumn Highlights – © Julie Broadfoot – http://www.juliebee.co.uk

If you are an established opera lover or someone curious to find out more, Opera Highlights is the perfect event. The extensive tour continues throughout Scotland (see below for dates and venues).

As ever, a five-star production from Scottish Opera.

The Albert Halls

Stirling

Sat 14 Sep

Book Tickets

Stonehaven Town Hall

Stonehaven

Tue 17 Sep

Book Tickets

Duthac Centre

Tain

Thu 19 Sep

Book Tickets

The Macphail Centre

Ullapool

Sat 21 Sep

Book Tickets

An Lanntair

Stornoway

Tue 24 Sep

Book Tickets

Aros Centre

Portree

Thu 26 Sep

Book Tickets

The Corran Halls

Oban

Sat 28 Sep

Book Tickets

Volunteer Hall, Galashiels

Galashiels

Tue 1 Oct

Book Tickets

Perth Theatre

Perth

Thu 3 Oct

Book Tickets

Carnegie Hall

Dunfermline

Sat 5 Oct

Book Tickets

Thurso High School

Thurso

Tue 8 Oct

Book Tickets

Orkney Theatre

Kirkwall

Thu 10 Oct

Book Tickets

Haddo House

Ellon

Sat 12 Oct

Book Tickets

Ryan Centre

Stranraer

Tue 15 Oct

Book Tickets

Beacon Arts Centre

Greenock

Thu 17 Oct

Book Tickets

The Brunton

Musselburgh

Sat 19 Oct

Book Tickets

 

REVIEW: The Fiery Angel (Scottish Opera Sunday Series) – City Halls, Glasgow

Masochistic obsession, black magic, demons, mass possession, exorcism, skeletons, nuns, appearances from Faust and Mephistopheles, it’s no wonder Sergei Prokofiev’s The Fiery Angel, often called lurid and sensationalist, is seldom staged. This latest production in The Sunday Series from Scottish Opera sees the work given a stripped back concert style treatment and it’s all the better for it.

Rehearsal for The Fiery Angel
Photos by Julie Howden

While lacking a set, it lacks for nothing else. The principal cast is largely made up of native Russian speakers and some fellow Eastern Europeans and is supplemented by current students of the Royal Conservatoire of Scotland opera school. The expertise with the language is partly the reason for the quality of this production, that and the considerable singing and acting skills of its principal players. Russian soprano Svetlana Sozdateleva is fine-voiced and gives a convincing, emotive performance throughout as the mentally unsound Renata, as is Azerbaijani baritone Evez Abdulla as Ruprecht and Russian tenor Dmitry Golovnin as Agrippa von Nettesheim, though it must be said that at times they, and their fellow singers find it hard to be heard over the outstanding orchestra (itself swelled in number by students from the Conservatoire), who, under the commanding baton of Mikhail Agrest, have rarely sounded more powerful.

Rehearsal for The Fiery Angel
Photos by Julie Howden

For all its, quite frankly insane subject matter, the score is an absolute winner: powerful, hypnotic, dissonant, majestic, bold and gripping.

Every aspect of this largely concert hall venue is utilised well: singers enter through the auditorium, sing from the balconies, orchestra stalls and act out the considerable drama in an arrangement of simply staged, but hugely effective scenes.

An absolute triumph for both Scottish Opera and The Royal Conservatoire of Scotland and a fantastic opportunity to hear Prokofiev’s masterpiece sounding at its best.