Bajazet

Since 2004, Pinchgut Opera has been reviving lesser-known operas of the 17^th and 18^th century. Each production is freshly created, from locating a forgotten work to researching its performance practice. It is then brought to vital new life accompanied by the authentic period instruments of the Orchestra of the Antipodes conducted by musical director Erin Helyard.

Directed by Thomas de Malett Burgess, this production of Bajazet is no exception. Set in the days immediately following the Tartar victory over the Ottaman Empire, its characters are caught up in a twisted, unsolvable situation that leads to an inevitably horrific conclusion. In a series of exciting and passionate arias and recitatives, Vivaldi’s characters scheme and pontificate, accuse and plead, their beautiful voices soaring in the wonderful acoustics of the City Recital Hall.

Designer Alicia Clements has used the open stage and height of the Recital Hall to create a set that, whilst spare and minimalist, also gives the impression of wealth and splendour. White predominates before a backdrop of red drapes. Furniture and props, moved inconspicuously by a stage crew of ‘servants’, means scene changes are intrinsically part of the action. Costumes bring colour and some glitter – and  Matthew Marshall’s lighting adds subtle atmosphere.

The set design allows de Mallett Burgess to juxtapose the performers so that scenes interconnect adding to the simmering tension that begins with the prelude. The lights have faded. The conductor’s baton is raised. On the stage the dead body of Bajazet’s daughter, Ortubule lies awating ritualistic cleansing. Her sister, Asteria, enters with a lamp, which she places at the foot of the table. She takes a match, raises it above her head, and as she lowers her hand to strike it, the Helyard’s baton brings the orchestra to life. A nice opening that is followed by similar creative direction that gives extra depth to the characters as they sing.

And sing they do! Pinchgut’s singers are frequently Australian opera stars with very successful careers overseas. That some of them return home just for these productions is indicative of the esteem in which the company is held.

Bajazet, the defeated Turkish sultan, is performed by New Zealand born baritone Hadleigh Adams. He pours all the anguish of his defeat, his fear for the safe future of his remaining daughter, and his eventual desperation into deep, heart felt notes that are clear and moving.

Mezzo-soprano Emily Edmonds is outstanding and movingly believable as Asteria.  She performs the many arias with emotions that range from love to fear to disdain to disbelief, and there is never a moment when she is not entirely in role.

Tamerlano, ruler of the victorious Tartar empire is played by American countertenor Christopher Lowrey, who sings and struts with all the haughty disdain and cruelty of the vanquisher. He is ruthless and selfish, all evident in ringing notes and sneering expressions.

Russell Harcourt plays Asteria’s lover Andronico who is nastily manipulated by Tamerlano. Harcourt’s voice is beautifully suited to this role, finding the hurt and bitterness of the situations into which he is placed, and, eventually, the dreadful end he faces with Asteria.

Mezzo-soprano Helen Sherman returns to Australia in the vocally demanding role of Irene, shunned fiancée of Tamerlano. Her control is, literally, breath-taking and the audience response to her performance was indicative of the strength and power of her inspiring performance.

Sara Macliver is subtly subversive in the role of Idaspe. Constantly on stage and ever watchful, she looks for ways to divert Tamerlano and keep some sort of order. Along with the three stage crew ‘servants’ (Katherine Coghill, Blake Feltis and Luke Middlebrook), she helps ensure the continuity of the performance with elegant grace.

This is yet another production that will please Pinchgut audiences. Though long, it brings another 18^th century opera into the 21^st century with care and authenticity.

Carol Wimmer

Photographer: Keith Saunders