United Kingdom Gilbert and Sullivan: The Yeoman of the Guard: Soloists, Refrain of Opera Holland Park, Metropolis of London Sinfonia / David Eaton (conductor). Opera Holland Park, London. 7.8.2024. (JR)
Manufacturing:
Director – John Savournin
Designer – Alyson Cummins
Lighting designer – Jake Wiltshire
Choreographer – Merry Holden
Refrain director – Domenic Ellis-Peckham
Forged:
Colonel Fairfax – William Morgan
Jack Level – Matthew Kellett
Sergeant Meryll – Darren Jeffrey
Elsie Maynard – Ellie Laugharne (singing) / Llio Evans (performing)
Phoebe Meryll – Samantha Worth
Sir Richard Cholmondeley – Stephen Gadd
Dame Carruthers – Amy J Payne
Wilfred Shadbolt – John Savournin
Leonard Meryll – Jack Roberts
Kate – Natasha Agarwal
First Yeoman – Christopher Killerby
Second Yeoman – Alistair Sutherland
First Citizen – Benjamin Newhouse-Smith
Second Citizen – Stuart McDermott
This new co-production is a collaboration between the Charles Courtroom Opera, one of many champions of the re-invigoration of Gilbert and Sullivan, and Opera Holland Park. For individuals who might not have been to Opera Holland Park, it takes place, not unsurprisingly, in Holland Park itself, underneath an enormous, winged construction, a form of cross between a circus tent and an enormous marquee, with a seating capability of round 700. It’s open on the sides which, on a breezy and funky summer season’s night, permits the unlucky ingress of chilly air – punters are supplied with blankets however a minimum of, if it rains, nobody will get moist. The stage for this manufacturing was oval, with the orchestra positioned in the course of it, not preferrred when a lone singer was positioned on the again.
The Yeoman of the Guard is usually thought-about the closest Gilbert and Sullivan received to ‘grand opera’ on account of Sullivan’s wealthy rating and Gilbert’s story, the darkest of their comedian operas, not at all times comedic, and considerably uneven. It affords a vivid snapshot of life within the Tower of London in Tudor occasions. Fortunately, I don’t must provide the synopsis, because the plot is convoluted and actually exceptionally foolish. It shares that misfortune with many a G&S opera, after all. Suffice it to say it features a pair of strolling gamers together with a Jester, an executioner, a Chief Tormentor and there’s the same old components of romantic misapprehensions, disguises and muddled intentions; it’s resolved on the finish, to not everybody’s satisfaction – spoiler alert – the sympathetic Jester is upset in love and takes his life.
In an extended programme be aware Richard Morrison, chief music critic of The Instances, tells us that critics on the time the opera was composed in 1888 felt it ‘didn’t fairly work … the feelings of grand opera bumping up in opposition to the irony of sunshine operetta’. Morrison nonetheless considers The Yeoman of the Guard accommodates a few of the most interesting music which Sullivan ever wrote, and hears homages to Mendelssohn and Wagner, including that the music by no means strays from the joyous and also you come away with a few of the catchy tunes buzzing round your head.
This manufacturing ensured leisure and delight all through, a well-designed set depicting the Tower of London and vibrant costumes, particularly for the Beefeaters themselves.
The singers had been of even and customarily acceptable commonplace; clear diction was assured by surtitles and the usage of amplification. One singer, nonetheless, stood out, and he or she was not within the forged record. Llio Evans as Elsie Maynard was indisposed however agreed to stroll the half, so in stepped Ellie Laugharne who sang the position from the pit and was, merely, in a distinct class to the remaining. She garnered probably the most applause for her wonderful voice and for stepping in at quick discover: OHP had been fortunate to get her. Matthew Kellett is a consummate actor, his singing abilities nearly satisfactory. John Savournin because the creepy gaoler is a charismatic outdated G&S hand. Amy J Payne and Samantha Worth each have heat and wealthy mezzo-soprano voices and high quality thespian abilities. William Morgan, as Fairfax, was in significantly sturdy voice. The Act II quartets had been the vocal, well-blended highlights of the night.
David Eaton and the Metropolis of London Sinfonia supported the singers all through. An entertaining night was had by all.
John Rhodes
