Irish opera finds its voice again, after years of discord
With Lyric Opera’s new production of Verdi’s Aida at the Gaiety Theatre last week, the Arts Council’s post-apocalyptic strategy for supporting opera has completed its first year of productions.
Apocalyptic, you ask? Well, let’s recap. A few years ago the council decided to shut down Opera Ireland (OI), Opera Theatre Company (OTC) and Wexford Festival Opera, and create a single, new national company based in Wexford. To be fair, the town has an opera house, but not much of a recent history of supporting opera outside of its annual festival.
Ministerial intervention wisely scuppered that plan, and replaced it with another, for a new national company to subsume the functions of OI and OTC.
Shilly-shallying by the minister who came up with the idea (Martin Cullen) and inaction by his successor (Mary Hanafin), a lack of dynamic action and a shortage of political nous by the new company’s board, and bureaucratic dragging of heels in the Department of Arts and the Arts Council led to the current Minister for the Arts Jimmy Deenihan quickly killing off the whole project.
Meanwhile, OI went to the wall and publicly-funded, full-scale opera disappeared from the capital for more than a year, until 2012 saw a new funding structure put in place. It supported an innovative, community-embracing production of Leoncavallo’s Pagliacci at the Everyman Palace Theatre in Cork, Wide Open Opera’s ground-breaking production of Wagner’s Tristan und Isolde at the Bord Gáis Energy Theatre, a revival of Humperdinck’s Hansel and Gretel at the Gaiety Theatre (in Oliver Mears’s not-quite-on-target updating, but with a fresh new Gretel in Kim Sheehan) and last week a new production of Verdi’s Aida by Lyric Opera, also at the Gaiety.
Unless I’m mistaken, this was only Lyric Opera’s second venture in an actual theatre, following its presentation of Puccini’s Madama Butterfly at Belfast’s Grand Opera House last March – its regular base is the National Concert Hall, with all the limitations that imposes. And the new Aida, directed by Lyric’s artistic director Vivian Coates, with designs by Conor Murphy (sets) and Joan O’Clery (costumes) would seem to mark a watershed in the company’s history in a way that Butterfly certainly didn’t.
Yes, there were a number of weaknesses. Coates, who left Aida in ancient Egypt, did take it into his mind to add a few gratuitous references about violence in contemporary Africa. Some of the smaller roles were very weakly cast, and, musically, there were moments which were far from tight – conductor Tecwyn Evans with the RTÉ Concert Orchestra in the pit, never really gave the feeling of being close to Verdi’s idiom.
But the Aida, Canadian soprano Yannick-Muriel Noah, warmed to her task, and was in genuinely affecting form at the end. Irish mezzo soprano Imelda Drumm was fine and firm as her rival Amneris, and American tenor Michael Wade Lee had a heroic edge, if not always sufficient vocal polish, as the object of their affections, Radamès.
In the wider scheme of things, this production fell somewhere between the style of two defunct companies, the late Bernadette Greevy’s Anna Livia Dublin International Opera Festival and Opera Ireland.
* It’s quite a leap from Aida to the kind of fare offered by the Huddersfield Contemporary Music Festival in England. The opening weekend featured the Crash Ensemble in a portrait of its artistic director Donnacha Dennehy, and in separate programmes of American Originals and Irish Mavericks.