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‘IT WAS THE 80S AND “GREED IS GOOD” WAS THE CULTURE OF THE TIME’
strong,’ says Dean, ‘and gave me an inspirational road map.’ Structurally, the shape it gives follows that of traditional opera. What is quite different, however, is the sound design. ‘There are modernist aspects to it,’ says Dean, ‘and I am keen on exploring orchestral colour, but not at the expense of the singers. The music must allow them to shine. But the orchestra includes electric guitar and drum-kit, so it’s definitely a different world from what you hear in The Marriage of Figaro. It’s the world of sound as we know it now. For instance, all of a sudden there’s a disco-like hi-hat or riffs on guitar.’
On stage and in the use of language (‘Hey, drongo’), director Neil Armfield has given the production the look and feel of Australia in the 80s period of the novel. There are chunky video games and magical lighting effects controlled by software called Pandora’s Box, which does everything it says on the tin. Heading the cast is Peter Coleman- Wright, the Australian-born baritone who is on stage for most of the opera. ‘He really captures Harry,’ says Dean. ‘He is humane, endearing, struggling and confused, so not an easy character to take on. Honey B is a wonderful young soprano and Merlyn Quaife as Betty is neurotic, fragile and sad.’ Bliss has been a major investment for Opera Australia, who have been criticised in the past for not including new Australian work in their repertoire. A second, very different, production of the opera is about to open in Hamburg and the piece has met huge success with the home audience. So far, bliss all round, and, indeed, even for Harry. ‘He finds it,’ says Dean, ‘but it comes at a price.’
Festival Theatre, 473 2000, 2 & 4 Sep, 7.15pm, £14–£64. Part of Edinburgh International Festival.
26 Aug–9 Sep 2010 THE LIST 37
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