Stanford - The Critic (Wexford, 2024)

Charles Villiers Stanford - The Critic

Wexford Festival Opera, 2024

Ciarán McAuley, Conor Hanratty, Rory Dunne, Ben McAteer, Ava Dodd, Gyula Nagy, Dane Suarez, Oliver Johnston, Meilir Jones, Andrew Henley, Hannah O'Brien, Carolyn Holt, Mark Lambert, Tony Brennan, Jonathan White, Arthur Riordan, Olga Conway

O'Reilly Theatre, National Opera House, Wexford - 24th October 2024

Opera is usually considered a serious business and comic works are often neglected, confined usually to operetta in the opera houses and mostly to Offenbach and Johann Strauss's Die Fledermaus. The greatest composers - I'm thinking of Mozart principally - manage to incorporate comedy as part of the wider richness of human experience. Works of pure comedy are relatively rare and perhaps don't stand the test of time: what is considered funny 100 or more years ago might not tickle the same way now. Such rare works are not neglected at Wexford, this year's festival theme almost inviting nothing but comedy, which indeed that turned out to be the case (unfortunately, from my perspective) to the exclusion of anything a little more substantial. When you have a pedigree like Charles Villiers Stanford working with a comedy written by Richard Brinsley Sheridan however, The Critic must be a promising prospect. Unfortunately, the 'Theatre within Theatre' idea that is the theme of this year's festival operas tends to neglect any meaningful commentary, and in the case of The Critic not much humour either other than in the broadest sense of laughing at bad opera.

Can you make a good opera out of bad opera? Well, Ariadne auf Naxos had already proven that point by the time Stanford came to compose The Critic, his penultimate opera, in 1916. Sheridan’s 1779 play pokes fun at critics, at the vanity puffery of writers, and the efforts of theatre producers to please everyone. In The Critic, Mr. Puff - the author and Mr. Dangle - the composer/impresario, have invited Mr. Sneer - the critic, to attend the rehearsal of a love story drama set around the invasion of the Spanish Armada. There is undoubtedly much here that could still be seen as relevant in its satire of theatrical conventions, but also a lot that isn't.

Essentially then The Critic operates as the rehearsal of a very bad opera with a ludicrous libretto and stagey acting, with occasional interruptions by the authors pointing out the cleverness of the drama, explaining some of the odder passages that seem to make no sense and appear to have no relevance to the main thrust of the rather disjointed drama. The first act of 'The Spanish Armada' involves a lot of posturing from Sir Walter Raleigh and Sir Christopher Hatton at Tilbury fort about the approach of the Spanish Armada, followed by a lament from the heroine Tilburina about her forbidden love for the captured Spanish officer Don Ferolo Whiskerandos, where she is constantly forced to repeat and improve her movements. Act II shifts to what appears to be a scene from an entirely different opera, an obligatory fight scene that goes through a number of retakes before one of the protagonists walks off leaving the other to shadow fight, and the opera ends with an incongruous masque to celebrate Queen Elizabeth's victory over the Spanish Armada. 

The Critic definitely fulfills the remit of a play within a play, but unfortunately there is little real meaningful connection between the presumed opera and the framing device other than interruptions from Puff and Dangle insisting on the final moments of silly arias and pompous choruses being delivered in an even more ridiculous way. Since the framing device is entirely spoken by actors, that means that the fake opera 'The Spanish Armada' is what actually constitutes the opera The Critic proper. Which means for almost the entire opera, we - the contemporary audience - are treated to what is simply a dreadful opera of ham acting, constant interruptions and exaggerated flourishes delivering a portentous libretto and improbable nonsensical plot.

The names are at least amusing and I have to say I did laugh at the scene where Lord Burleigh silently and solemnly ponders some obscure dilemma before eventually grunting thoughtfully and walking off the stage. Perhaps that's because you could enjoy the actual music, which is of course ravishing, but how much of it is meant to be pastiche and parody? All of it? How do you judge whether it is good music to bad opera or pastiche bad music to match and highlight the absurdities of the plot and libretto? Can we take it seriously when it only emphasises the silliness of the plot? We are perhaps meant to recognise the styles being parodied? None of them are obvious, so any attempts to be clever there also failed.

I'm not sure the period setting, Conor Hanratty's direction or the production design really helps. The stage within the stage set and the costumes are marvellous, the opera looking absolutely gorgeous. Some 'cheap' props and effects are thrown in for additional amusement, but it's all very obvious. Although the intent is that the performers are taking it all very seriously, it's not really funny if it's played as broadly as this. There is nothing to let the audience find their own amusement or any clever device that might hint at a relevant satire they can recognise. I'm thinking for example of the Buxton Festival's 2022 production of Le convenienze ed inconvenienze teatrali (as Viva la Diva), an opera that is also part of the programme in Wexford this year (an obvious choice considering the theme), which satirised all manner of modern production excesses, as well as modern theatrical practice. (I await the Wexford production to see how they fare, but they have a lot to live up to).

Putting the deficiencies about my sense of humour and expectations aside, there can be no dispute about the quality of the orchestra playing under the musical direction of Ciarán McAuley or the singing performances here. The singing was definitely good, or at least good at being bad - I'm not sure how you would evaluate it on that basis. A challenge for the critic indeed. No, the singing was of a high standard, but there was nothing too challenging here, not even the traditional 'mad scene'. The libretto was atrocious, intentionally so, the plot nonsensical, but everyone has different tastes, so if you find that amusing - and the gentleman in the box beside me in the O'Reilly Theatre chuckled away throughout - then The Critic is a definite hit. Just not with this critic*. (But judge for yourself). Certainly we can all do with a little bit of lightness considering the state of the world at the moment, but this was a disappointing year at Wexford Festival Opera for lovers of 'serious' opera. Next year's programme of rare Verdi (Le trouvère), Handel (Deidamia) and Delius (The Magic Fountain) however promises to be very serious indeed!

External links: Wexford Festival Opera, RTE Streaming on YouTube

The critics about The Critic

★★★★★ “Outstanding … doesn’t miss a trick.” - The Irish Times ★★★★★ “Hilarious … a Wexford Festival Opera knockout.” - Bachtrack ★★★★★ “Impeccable.” - The Stage ★★★★ “A superb Ava Dodd … an equally terrific Dane Suarez.” - The Arts Review ★★★★ “Ciarán McAuley’s superb conducting” - The Arts Review ★★★★ “Conor Hanratty’s masterful direction” - The Arts Review *Somehow I can't see my review being added to the above

★★ 'A very bad opera with a ludicrous libretto and stagey acting' - OperaJournal

Mozart - Idomeneo (Madrid, 2019)

Wolfgang Amadeus Mozart - Idomeneo

Teatro Real, Madrid - 2019

Ivor Bolton, Robert Carsen, Eric Cutler, David Portillo, Anett Fritsch, Eleonora Buratto, Benjamin Hulett, Oliver Johnston, Alexander Tsymbalyuk

Opus Arte - Blu-ray

With every new production, Idomeneo is proving to be one of the most exciting of Mozart's operas, and that's even when measured up against a catalogue of mature works where each and every one is a masterpiece. It's not just the number of productions that are elevating it comfortably into the canon of regularly performed Mozart operas - even if you don't rate it as great Mozart, this early work of youth is still head and shoulders above most opera of its century - but each production seems to find new depths in the work. Not only has Mozart created marvellously drawn, living, breathing people out of these Metastasian opera seria characters, but through them you can already see the enlightened ideas and themes that are there in his mature works. What is also amazing is how a work of Greek antiquity with a late 18th century score can still be so fresh and modern, its themes remaining relevant to the present day.

Robert Carsen certainly emphasises the contemporary relevance of the work right from the outset in the Teatro Real production by hitting you with an image that looks like it is straight off a TV news broadcast; a group of refugees clinging desperately to a wire fence that cages them in. Having suffered in a terrible war and displaced from their homeland, Ilia and the Trojan refugees wonder what harsher fate have the gods in store for them. If it's not exactly a new or original perspective on Idomeneo it's only because there's nothing new in such images repeated throughout history, but they still remain relevant and powerful, a scene repeated with depressing regularity.

Imagine a world where human love and compassion could inspire a leader to assist those less fortunate? Well, Mozart could imagine that the good in mankind would always win out over greed, jealousy and lust, where love triumphs and the dissolute are punished, where goodness its own reward. It's a theme that you can see consistently throughout his opera work right through to La Clemenza di Tito. It's one thing to imagine and believe in that but it's quite another greater thing to make it seem like a genuine possibility in the composition of music that expresses such emotions and intentions.

Robert Carsen knows that it's all there in Mozart's music, and with good singers to interpret it and a conductor sensitive to the rhythm, pace and dynamic of the score, Idomeneo speaks for itself. The Madrid production fares well on all those fronts, but it would be over-simplifying to say that Carsen does no more than throw out a few powerful iconic and emotive images. As with some of his more recent productions (Glanert's Oceane also in 2019) the director uses the full dimensions of the stage with projections of nature, sea and sky, raging seas and stormy skies to create a sense of wide open space in which an opera can truly breathe.

There are some strikingly realistic, powerful images used here. The horrors wreaked on Crete by Neptune's sea monster couldn't be any more devastating than the real life images of war torn Syrian towns used here, and it gives the work added authenticity and a sense of classic timelessness. The very Parsifal-like way the production is concluded is also successful, touching on the deeper truths to be found in mythology, how tyranny can be overthrown, how compassion and innocence will save the world and rebuild it anew.

There's not really enough however to carry the narrative though in an engaging way. There are a few spectacular projection effects that capture a sense of inner conflict and turmoil, but the uniformity of the military uniforms works against a stronger sense of character definition, and by making the people an army it goes against the idea of it being ordinary people suffering at the hands of higher powers. There's too much Duty and not enough Humanity. This is recognised in the conclusion to an extent when, the war ended, the uniforms are shed and the people are able to live as humans once again.

Although the singing is excellent there's also little in the way of character interpretation to give it more context and depth. Sure, it doesn't go for black and white the way other productions might in terms of painting Elettra and Idomeneo as misguided villains and Ilia and Idamante as the great young hope for the future, but there's room for finding nuance and highlighting the differences within those worldviews. Carsen's production looks great and it makes an important contemporary commentary but a work of opera seria like Idomeneo needs a little more focus on making the narrative drive more engaging. Even Mozart's opera seria.

There are moments when it comes together, particularly in Act III. Despite the staging of Idamante and Ilia social distancing amidst a beach full of life jackets, the love declarations of the 'Spiegarti non poss'io' duet between Anett Fritsch and Benjamin Hurlett is sung beautifully and accompanied by delicate playing from the pit. The subsequent quartet with Eric Cutler and Eleonora Buratto is also superb, underling that the conflict is not an ideological one between tradition and progress, between being tied to a sense of duty and the freedom to make individual choices, but just four people and two sides that find themselves in a difficult and irreconcilable position. Buratto's final aria as Elettra is also marvellous. Ivor Bolton's handling of the very different dramatic and emotional tones is just superb.

What is also evident right from the overture is that Ivor Bolton is returning the work back to its historically informed period instrumentation, using harpsichord and slightly reduced orchestration that gives it a wholly different feel from the more classical sounding Idomeneo of Mozart. There is consequently a lighter spacious sound with extra delicacy and punch as it hits all the points in the dynamic range. Hearing Mozart this way is always a revelation and the score is lively and percussive in drive but opening up to reveal more detail and beauty in the scoring and playing of individual instruments. Bolton himself plays the recitative accompaniment.

The quality of the production comes across well on the Blu-ray release from Opus Arte, presenting a clear image with bold contrasts that helps bring out the impact of the staging. The PCM Stereo and DTS HD-Master Audio 5.1 mixes emphasise the dynamic of the historically informed instrumentation. The surround mix in particular gives a wonderfully spacious soundstage for the orchestration, the harpsichord pinging away throughout. The only extra on the BD is a Cast Gallery but the booklet insert has a tracklist, a synopsis and a brief overview of Robert Carsen's take on the opera. Subtitles are in English, French, German, Japanese and Korean.

Links: Teatro Real