OPERA ANYWHERE
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Opera Anyway
William Walton: The Bear; Lennox Berkeley: A Dinner Engagement, Opera Anywhere, Jacqueline Du Pré Music Building, 30 April 2005. 84
The name of the small opera company, Opera Anywhere, based on the village of Sunningwell, tucked away between north Abingdon and Boar's Hill might be regarded as somewhat pretentious in view of the worldwide explosion of operatic activity in its many forms in recent years. In fact, 'Anywhere' refers to various unconventional venues where the company performs, mainly in the Oxfordshire area. Its admirable aim is to engage the local communities into an interest in opera and includes performances at corporate and private events. Founded some five years ago by Mike and Vanessa Woodward, its productions have included Carry on Gilbert and Sullivan, a Puccini double bill and Last Night of the Viruses, devised for a corporate business sponsor, the Sophos Anti-Virus Company of Abingdon. The production under review is their first 'straight' performance of mid-twentieth century opera and it is a tribute to their growing reputation that they were able to attract audiences to this ambitious enterprise. This was helped by their achievement of wide publicity in the local media as well as on Radio 3, including a performance at Oxford Railway Station. Your reviewer learnt of it from the JdP term programme where two performances were given at the end of two week's tour of local towns and village halls.
The double bill comprised two British operas, The Bear by William Walton followed by A Dinner Engagement by Lennox Berkeley. Both were first performed at Aldeburgh, the former in 1967, the latter in 1954; both the librettos are by Paul Dehn. It was a rare opportunity to see these minor masterpieces, albeit on a makeshift operatic stage. Given the limitations of the staging, these were, in every other way, totally professional performances. One's main regret, in viewing this as opera, was that the performances were accompanied on the piano, rather than instrumentally. However, as a musical experience, the virtuoso playing of the musical director, Peter Cowdrey, was utterly remarkable, holding the performance together throughout (in spite of having to depend on the stage lighting which often dimmed).
The Bear, based on a one-act piece by Chekhov, tells of a Mme Popova, mourning a husband, whose boorish creditor, Smirnov, arrives to demand money. While preparing to fight a duel over the matter, they fall in love. That's it! But the whole story is acted out with great wit, with the mediation of the third character, the arthritic servant, Luka. Luka, played by Oliver Hunt, almost stole the show, with his contorted movements and his sardonic comments on the behaviour of the principals, played by Vanessa Woodward and David Stuart. But the characterisation of all three was totally convincing.
While the story of The Bear is timeless, that of A Dinner Engagement is of its period, reflecting the beginning of the decline of class attitudes and social structure in the fifties. This made the latter very much a period piece. Set in a suburban kitchen, it tells of Lord and Lady Dunmow, impoverished ex-diplomats, who are preparing to entertain to dinner a Grand Duchess and her son, with a view to marrying off their uncooperative daughter. Needless to say, it ends happily. The music reflects perfectly the social status of each character. 85
The stage design by Mike Wareham was superb, nostalgic of the fifties' kitchen furniture and utensils. Within this setting, the acting was brilliant, the characters playing off each other to perfection with impeccable timing. All were good, but my favourite was Claire Stoneman as the hired help for the evening, particularly for her manic activity with a chopping knife! The libretto was published in the programme, completely unnecessarily since every word was clear from beginning to end.
Opera Anywhere is clearly a company to look out for, widening the range of operatic experiences available to us in Oxford. This summer they are putting on a Sunningwell Festival from 2-16 July, having failed to receive support from the uninspiring 'Oxford Inspires' organisation which is co-ordinating a programme of events under the title Evolving City. (Oxford Inspires was set up to mastermind the recent misconceived bid for the City and County to become Cultural Capital of Europe in 2008. In particular, nothing came of the need for the provision of a large auditorium for Oxford, to serve as a concert hall, conference centre and for other cultural, artistic and social purposes. This was identified during the insemination stage by all the diverse focus groups and think tanks as a top priority. It should have been appreciated that, if this was not a sustainable enterprise, Oxford could have no claim to be a Capital of Culture.) Sunningwell, with its own School of Art, has evolved into quite a cultural centre of its own, including a 'Proms on the Pond ' event. Forty years ago the said pond in the centre of the village had the memorable sign: 'Bathing is not permitted - Paddling is permitted'. It was never clear whether this was enforced. But now Proms are permitted!
William Walton: The Bear; Lennox Berkeley: A Dinner Engagement, Opera Anywhere, Jacqueline Du Pré Music Building, 30 April 2005. 84
The name of the small opera company, Opera Anywhere, based on the village of Sunningwell, tucked away between north Abingdon and Boar's Hill might be regarded as somewhat pretentious in view of the worldwide explosion of operatic activity in its many forms in recent years. In fact, 'Anywhere' refers to various unconventional venues where the company performs, mainly in the Oxfordshire area. Its admirable aim is to engage the local communities into an interest in opera and includes performances at corporate and private events. Founded some five years ago by Mike and Vanessa Woodward, its productions have included Carry on Gilbert and Sullivan, a Puccini double bill and Last Night of the Viruses, devised for a corporate business sponsor, the Sophos Anti-Virus Company of Abingdon. The production under review is their first 'straight' performance of mid-twentieth century opera and it is a tribute to their growing reputation that they were able to attract audiences to this ambitious enterprise. This was helped by their achievement of wide publicity in the local media as well as on Radio 3, including a performance at Oxford Railway Station. Your reviewer learnt of it from the JdP term programme where two performances were given at the end of two week's tour of local towns and village halls.
The double bill comprised two British operas, The Bear by William Walton followed by A Dinner Engagement by Lennox Berkeley. Both were first performed at Aldeburgh, the former in 1967, the latter in 1954; both the librettos are by Paul Dehn. It was a rare opportunity to see these minor masterpieces, albeit on a makeshift operatic stage. Given the limitations of the staging, these were, in every other way, totally professional performances. One's main regret, in viewing this as opera, was that the performances were accompanied on the piano, rather than instrumentally. However, as a musical experience, the virtuoso playing of the musical director, Peter Cowdrey, was utterly remarkable, holding the performance together throughout (in spite of having to depend on the stage lighting which often dimmed).
The Bear, based on a one-act piece by Chekhov, tells of a Mme Popova, mourning a husband, whose boorish creditor, Smirnov, arrives to demand money. While preparing to fight a duel over the matter, they fall in love. That's it! But the whole story is acted out with great wit, with the mediation of the third character, the arthritic servant, Luka. Luka, played by Oliver Hunt, almost stole the show, with his contorted movements and his sardonic comments on the behaviour of the principals, played by Vanessa Woodward and David Stuart. But the characterisation of all three was totally convincing.
While the story of The Bear is timeless, that of A Dinner Engagement is of its period, reflecting the beginning of the decline of class attitudes and social structure in the fifties. This made the latter very much a period piece. Set in a suburban kitchen, it tells of Lord and Lady Dunmow, impoverished ex-diplomats, who are preparing to entertain to dinner a Grand Duchess and her son, with a view to marrying off their uncooperative daughter. Needless to say, it ends happily. The music reflects perfectly the social status of each character. 85
The stage design by Mike Wareham was superb, nostalgic of the fifties' kitchen furniture and utensils. Within this setting, the acting was brilliant, the characters playing off each other to perfection with impeccable timing. All were good, but my favourite was Claire Stoneman as the hired help for the evening, particularly for her manic activity with a chopping knife! The libretto was published in the programme, completely unnecessarily since every word was clear from beginning to end.
Opera Anywhere is clearly a company to look out for, widening the range of operatic experiences available to us in Oxford. This summer they are putting on a Sunningwell Festival from 2-16 July, having failed to receive support from the uninspiring 'Oxford Inspires' organisation which is co-ordinating a programme of events under the title Evolving City. (Oxford Inspires was set up to mastermind the recent misconceived bid for the City and County to become Cultural Capital of Europe in 2008. In particular, nothing came of the need for the provision of a large auditorium for Oxford, to serve as a concert hall, conference centre and for other cultural, artistic and social purposes. This was identified during the insemination stage by all the diverse focus groups and think tanks as a top priority. It should have been appreciated that, if this was not a sustainable enterprise, Oxford could have no claim to be a Capital of Culture.) Sunningwell, with its own School of Art, has evolved into quite a cultural centre of its own, including a 'Proms on the Pond ' event. Forty years ago the said pond in the centre of the village had the memorable sign: 'Bathing is not permitted - Paddling is permitted'. It was never clear whether this was enforced. But now Proms are permitted!
