'I MADE A MENTAL NOTE THAT I MUST SING OCTAVIAN AT SOME POINT IN MY LIFE'
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Teenage love and longing as performed by a fortysomething woman? It all makes perfect sense in Scottish Opera’s Der Rosenkavalier, as Carol Main discovers.
he‘s in her early 30s. a married aristocrat, and
he‘s a fairly posh l7-year-old. They are in
love. and as the curtain opens to a sumptuous bedroom scene. they are clearly having a passionate affair. So far. so dramatic. But. this is opera, so the teenage boy is not only a female role. but one that is generally played by a singer even older than the one with whom he's having the affair. Why. one might ask. did Richard Strauss not take a more straightforward realistic route and write Octavian for a dashing young tenor?
ln hearing Scottish Opera‘s revival of its deservedly immensely successful production of Der Rosenkai'alier. all becomes abundantly clear. Fast forward from the opening bedroom scene to the famous final Act Three trio of the Countess. Octavian and his new. young and true love. Sophie. The blend of three female voices is pure heavenly bliss. with a beauty simply unachievable by any other combination. Add to that the immediacy of realisation that Octavian — here sung for the first time by mezzo Sarah Connelly — is one of the most technically. emotionally and physically demanding roles around. and there is no doubt that this isn‘t a part for anyone who‘s at all inexperienced.
‘l’ve waited twelve years for this‘. says Connelly. who brings a glorious. rich voice to the role. ‘I made a mental note that I must sing Octavian at some point in my life. It‘s far too difficult for someone under 30 and it‘s really in the 40s that the memo voice reaches its maturity.’ Connelly also has a remarkable ability to get under the skin of what it is to be an adolescent:
the turmoil of conflicting emotions. the apparent confidence coupled with underlying uncertainty. all of the difficult. vulnerable stuff that can make it painful to be a teenager. "l‘here‘s wonderful lyricism and romanticism in the music. of course‘. she says. ‘but when he's not in romantic mood. he's quite defensive. quite snippy. I like that. And then he's devastated when it all goes wrong.‘
Now 43. Connelly's view is that the audience has to accept and understand that it is an older woman who sings Octavian. Somewhat eriviably. however. she looks the part too. Slim. agile and. much to her delight. she gets to sport her own hair. ‘lt‘s cut in a sort of Johnny Depp style. sort of Renaissance bob. that can be straight to the shoulder or tousletl and flicked back.‘ In a performance that is four hours long (but feels a fraction of that). it is vital that singers aren‘t unnecessarily encumbered. ‘lt matters to David McVicar. the director. that we all feel comfortable. With a lot of directors. the look is what is important. so they make you wear the most impossible things.’ The look of this Roxmrkurulrer is. nonetheless. ravishing. The complexities of the relationships. of marriage. of lovers and all the rest of it. are exquisitely observed by McVicar and his team. Connelly wanted her first experience of Raven/cavalier to be a happy one. Seems we’ve all been granted her wish.
Theatre Royal, Glasgow, Tue 14 Nov; Festival Theatre, Edinburgh, Tue 21, Sat 25, Wed 29 Nov 8. Fri 1 Dec.
Hebrides Ensemble and Scottish Dance Theatre: The Soldier’s Tale Alexander Janicek leads the ensemble in this collaboration with its dance equivalent to create an exciting tour of venues across the country. Includes the beautiful Par/ Interval/o by Arvo Part with specially commissioned new choreography. The Bridge, Easterhouse, Glasgow, Thu 2 Nov; Queen ’3 Hall, Edinburgh, Mon 6 Nov.
The Paper Nautilus Nature and the wonders of the sea combine with the latest developments in Linden/vater science to inspire a new commission from ground- breaking composer Gavin Bryars. As past and present come together. the ‘Iiving light’ of our planet's underwater world is presented on stage through music. words and movement. Tramway, Glasgow, Thu 2—Sat 4 Nov.
Scottish Opera: Tamerlano New production of Handel‘s rarely performed opera is directed by John La Bouchardiere, already a great success with the company, especially in last season‘s Same/e. Austrian counter-tenor Max Cencic is well worth hearing in the title role. Theatre Royal. Glasgow, Tue 7, Thu 9, Sat 77 and Thu 76 Nov.
The International Classical Season: John Williams and Richard Harvey Famed ambassador of the classical guitar, Australian- born Williams now covers a much wider repertoire. With Harvey. who plays over 600 instruments, and musical influences from all over the world. the possibilities are no doubt endless. Royal Concert Hall, G/asgow, Thu 9 Nov.
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