Love, Conflict, Renaissance
Monteverdi, Strozzi and Jonathan Dove
Directed by Sir Thomas Allen
Britten Theatre, Royal College of Music
Some might deem this material obscurely esoteric so it’s a real treat to be in an environment where it’s mainstream. And, of course, it’s richly encouraging to see and hear young, emerging performers running with it and achieving excellence.
The opening work, programme devised by Nick Sears, links songs by Monteverdi and Strozzi to provide a loose narrative about joshing young men and wistful women. The “plot” (such as it is) doesn’t matter much. The important thing is the sound and that soars with aplomb. Cecilia Yufan Zhang, mezzo, currently studying at RCM Opera Studio gives an especially arresting performance, her voice every shade of nuanced claret.
This is followed by a short account of Monteverdi’s scene. Tancredi e Clorinda in which a Sarcen woman and a Christian knight fight, masked, to her death and a love revelation. All three items in this programme are visually illustrated by dancers from Rambert School, choregraphed by Anna Smith and Harry Wilson. It works especially effectively in Tancredi e Clorinda in which the dancers enact the fight while the singers freeze behind them.
After the interval we get Jonathan Dove’s mini-opera, Angels. It tells the story of Piero Della Francesca (died 1492) who was inspired by Angels and painted them – a lot. With libretto by Alistair Middleton, this version is for harp, counter tenor and soprano. Will Prior, counter tenor, as Piero is splendid. He has a mellifluous voice and really catches his character’s wistful uncertainty and vulnerability. It’s staged against three arches at the back in which his soprano angels (Bella Marslen and Maryam Wocial – both good) often stand, looking like paintings.
The RCM Opera Orchestra does a fine job in a small pit only just below the stage – historical instruments carefully tuned to A=415 for Monterverdi and Strozzi. The lay out means that conductor, Michael Rosewell is clearly visible to all. For me, it was an unexpected bonus to see and hear that wonderful instrument the theorbo played live (by Kristiina Watt) and from row D, I was close to it.
And what a delight to see octogenarian, Sir Thomas Allen who directs this show so ably, on stage with the students and cheerfully taking part in the Monteverdi number which concludes Love, Conflict, Renaissance. His engagement and pleasure at what has been achieved are warmly clear.
