| 06 August 2011
With eerie blue lighting, minimalist props and a dark-suited orchestra poised for the performance ahead, there was a real sense of atmosphere and anticipation as the audience took their seats for this double helping of chamber opera. Expectations were raised further with the experimental electro-acoustic score and lyrics being dubbed ‘challenging’ and ‘unconventional’. Unfortunately with such promise, came much disappointment.
Bonesong, the first offering, seemed hell-bent on being brooding and bloody to the extent it became self-indulgent, losing in the process its sincerity and ambience. This was hard to swallow, as there were glimpses of great potential in the performance. Indeed, the score and the lead female’s vocals, particularly, produced moments that were truly blood-curdling: evoking the twisted fairytale plot with great passion and facility. Overwhelmingly though, while the three-strong cast were all compelling singers, their acting lacked the same conviction.
Unknown Position fared little better. A cumbersome and time-consuming set change in between the operas left the orchestra restless, and, despite their playing being captivating in the first half, with all eyes hanging on their conductor’s every gesture, they quickly became inclined to make exchanges with their pals in the audience. In the scenes that followed the actors also seemed to loose momentum. The physical portrayal of a woman in love with a chair proved particularly tenuous and unbelievable, though this would have a challenge for the most seasoned actresses.
Convoluted rather than captivating.
Bonesong/ Unknown Position, C Venues, 21.30, August 3-13
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