United Kingdom Puccini, Edgar (1905 model, semi-staged, orchestral discount Toby Burke): Soloists, Youngsters from Pimlico Musical Basis and Tiffin College, Opera Holland Park Refrain, Metropolis of London Sinfonia / Naomi Woo (conductor). Opera Holland Park, London, 2.7.2024. (CC)
Manufacturing:
Director – Ruth Knight
Lighting designer – Mark Jonathan
Struggle and Intimacy director – Haruka Kuroda
Costume designer / Supervisor – Myfanwy Holland
Refrain grasp – Dominic Ellis-Peckham
Solid:
Edgar – Peter Auty
Fidelia – Anne Sophie Duprels
Tigrana – Gweneth Ann Rand
Frank – Julien Van Mellaerts
Gulaltiero – James Cleverton
Younger Edgar – Edward Courquin
Younger Fidelia – Anhelina Rubanets
Younger Tigrana – Hermione Zeleke
Opera Holland Park’s excavations have offered revelation after revelation: one thinks of their UK premiere of Mascagni’s Isabeau in 2018 (evaluation right here) as only one instance. Extra related on this Puccini 12 months (he died November 29, 1924), we’ve a uncommon outing for the 1905 rating of Edgar (following on from OHP’s Le Villi, reviewed by Mark Berry in 2022: evaluation right here). What a privilege it’s to see this (nearly) staged Edgar, then.
The premiere of Edgar occurred at La Scala on April 21, 1889. In 1892, Puccini lower the rating from 4 acts to a few; the premiere of the 1905 model occurred in Buenos Aires as a part of a season within the composer’s honour. No-one goes to faux that is constantly top-rank Puccini, however I for one come out extra on its aspect than booklet annotator Michele Girardi in his essay A Very Helpful Lesson, who’s brutally ‘sincere’ in regards to the opera’s points, each in plot and ‘disconnect’ between textual content and music. When within the second, although, underneath Naomi Woo’s assured baton – her beat so clear, her information of the rating by no means unsure – it was potential to change into absolutely enraptured with the music. The vary of references one might level to is massive. from Ponchielli to Wagnerian chromaticisms, however this verismo is cradled inside a core of Puccini.
The ‘semi-staged’ aspect is that singers are costumed and absolutely act out the drama, however there’s a lack of stage furnishings and ornament. It labored superbly, so full credit score to director Ruth Knight, who appeared to maneuver it extra in the direction of Victorian occasions than the Center Ages. However the sometimes-grizzly interactions of feelings stay fixed no matter period, after all. Mark Jonathan’s lighting was clearly fastidiously thought of, and at all times efficient.
The story of Edgar is taken from the play-in-verse La Coupe et les Lèvres by Alfred de Musset; the librettist is Ferdinando Fontana. The setting is said as Flanders in 1302. Edgar, in a again story, has been residing with the debauched Tigrana (who was introduced up by the opposite main girl’s father). There appears to be clues within the names: the wild animal, Carmen-referencing Tigrana is complemented by the virginal good lady Fidelia. The nexus is Edgar, who on arrival claims he loves Fidelia and her honesty. Frank loves Tigrana, however Edgar runs off along with her after a crowd harass her; Frank is wounded in a duel with Edgar within the course of. Within the second act, Edgar regrets his actions; the arrival of Frank and his platoon permits for suspiciously immediate forgiveness and Edgar joins the military. Within the ultimate act, Edgar has died (‘died’) and is introduced again in a coffin (positioned stage entrance and centre right here, with an embossed cross). In a curious twist, Tigrana seems to wish for Edgar and the curate propositions her, asking her to run away with him. Riled crowd desecrate the coffin, however it’s empty: the ’curate’ is in reality Edgar, who now declares Fidelia his real love. However Puccini’s ‘dramma lirico’ ends in tragedy and never slightly blood …
As at all times with Puccini, then, a lot emotion. The piece wants a robust hand on the helm, and barely have I heard such self-discipline from the Metropolis of London Sinfonia than right here, underneath Naomi Woo’s course. This was her OHP debut (she is Canadian and is an ‘creative companion’ of Montréal’s Orchestre Métropolitaine). Zeroing in on minute element few conductors might have essayed Puccini’s formal construction, reminiscent of it’s, higher. The orchestral discount is fantastically managed, permitting climaxes to register, however voices are not often if ever overpowered. The choral contributions had been fantastically co-ordinated and delivered (we hear Puccini’s penchant for church music – extra famously outed in Tosca – right here too).
The three youngsters act out, silently, scenes presumably from childhood, together with the exclusion of Tigrana, emphasising her standing as ‘outsider’. The Opera Holland Park Refrain is in nice type all through (Puccini offers them loads to do). The soloists had been slightly extra variable, nevertheless. On the credit score aspect, Peter Auty is in nice voice and as dramatically convincing because the plot permits. He relishes Puccini’s lengthy traces and has a certain sense of fashion. His Tigrana, Gweneth Ann Rand, final seen as Innkeeper’s Spouse / Hen in Crafty Little Vixen at English Nationwide Opera in 2022 appeared much less safe, generally swooping between notes. There was the same polarity between Julien Van Mellaerts’s Frank – finely etched, assured (Van Mellaerts has impressed earlier than, as Frédéric in COG’s Lakmé and in OHP’s Opera in Tune with Anush Hovhanisyan in 2021), towards an unexpectedly edgily-toned Anne Sophie Duprels as Fidelia, definitely much less convincing than because the titular function in Zazà (Leoncavallo) again in 2017. James Cleverton was a robust Gualtiero.
As regards this specific run of Edgar, there must be greater than three performances, absolutely … it appeared offered out, and one assumes the remaining performances will likely be, too. Fairly proper: with out listening to this, how can we ‘know’ Puccini? That is the highway to greatness, in spite of everything. And if you wish to get to know the piece by way of recordings, the 1977 CBS Bergonzi/Scotto (as Fidelia) is definitely essentially the most well-known, and underneath Queler’s baton, the rating glows. There may be additionally the Domingo DG account performed by Alberto Veronese (though I discover the CBS extra convincing general). Some, too, could want to hunt down Julia Varady’s Fidelia (Naïve, Orchestre de Radio France underneath Yoel Levi), however José Cura’s Edgar on a uncommon DVD of the 1889 model would possibly sadly stay elusive for the musicologically curious.
That is Opera Holland Park providing, if not fairly a once-in-a-lifetime expertise, definitely a uncommon alternative. At occasions when opera homes wrestle to outlive, that is courageous, and the danger pays off. There may be hope.
Colin Clarke
