Rusalka

This was an utterly enchanting night in the opera with music, design and performance combining for thrilling effect.

The story is most accessible, based in part on Hans Christian Andersen’s The Little Mermaid, with the narrative taking place under the sea, and on land in palaces and forests.

It smooths over the unfamiliar feel of the lyrics, sung in Czech, which sound like a mixture of German and Russian

The Opera opens in the realm of the sea sprites, signified by sharp streams of light piercing a lake. A handsome Prince dives into the water catching the eye of Rusalka, who yearns to leave her watery home to find love.

An early musical highlight is the aria “Song to the Moon”, performed with panache by soprano Nicole Car, returning to Australia after regular engagements with the world’s great opera houses.

Her father The Water King  (Warwick Fyfe) is devastated by his daughter’s wish to leave. He sends her to a sea witch – which in the Disney movie is the Octopus Ursula – but in the opera is the equally delicious Ježibaba (Ashlyn Tymms).

For those raised on the Disney movie the deal to a ticket to dry land is familiar. Rusalka is risking her life by leaving the water and has to woo the Prince without a voice.

The transition between the sea and land is managed ingeniously  by ascending and descending screens, digital imagery, and a mirror at the back of the stage. (An unexpected quirk from my seat was the reflection of the tip of the head of the conductor.)

Our first introduction to those outside the lake is an enchanting trio of wood sprites (Fiona Jopson, Jennifer Bonner and Helen Sherman). All are principal singers in their own right and combined beautifully.

As luck would have it, no sooner has Rusalka become human than she bumps into the handsome Prince (Gerard Schneider) who is out on a hunt and becomes instantly enchanted with her.

Lots of little things delight in this opera  - I loved the striking dreamy runs on the harp and crisp heralds on the brass in the score which is influenced by Wagner and Czech folk music.

The final costume and lighting reveal is spectacular.

There are lots of moments of unexpected humour. Rusalka’s attempt at dancing is comical.

The duchess (Natalie Aroyan) not only has to suffer the humiliation of losing her Prince to half a fish, but even worse must endure the indignity of a wardrobe faux pas.

Written between 1900 and 1901, Rusalka has taken most the century to gain popularity around the world and this production, built with the combined resources of Australia’s opera companies, will be revived for many years to come.

David Spicer

Photographer: Carlita Sari