United Kingdom Rimsky-Korsakov, The Snowmaiden: Soloists, Choral Ensemble, Orchestra of English Touring Opera / Hannah Quinn (conductor). Hackney Empire, London, 28.9.2024. (MB)
Manufacturing:
Director – Olivia Fuchs
Designs – Eleanor Bull
Lighting – Jamie Platt
Solid:
Snowmaiden – Ffion Edwards
Lel – Kitty Whately
Kupava – Katherine McIndoe
Mizgir – Edmund Danon
Spring Magnificence – Hannah Sandison
Grandfather Frost / Bermyata – Edward Hawkins
Tsar Berendey – Joseph Doody
Bobyl – Jack Dolanobylikha – Amy J Payne
Spirit of the Wooden – David Horton
Masienitsa – Neil Balfour
Tsar’s Web page – Alexandra Meier
English Touring Opera’s new season opened, as is now customary, on the Hackney Empire, with a superb observe as much as its 2022 manufacturing of The Golden Cockerel within the guise of Rimsky-Korsakov’s The Snowmaiden, each given in English and sharing a few of their casts. Though there have been, unsurprisingly, different factors held in frequent, these in the end proved very completely different works and productions, one – The Snowmaiden – from the early years of his operatic profession (written 1880-81), the opposite his closing accomplished opera (1906-7). Collectively, they pointed as soon as once more to the treasure trove awaiting curious audiences and performers in works that have a tendency, admittedly, to be uneven of their achievement, but are hardly ever if ever with out curiosity. Right here we noticed – and heard – a folkloric passage from winter to spring that inevitably dropped at thoughts Rimsky’s biggest pupil and his cataclysmic Ceremony, with a extra tender coronary heart than many may need come to anticipate.
In ETO’s new model, Rimsky’s setting of Alexander Ostrovsky’s play is significantly reduce, in order that if one may hardly evaluate it to the concision of Janáček’s later Ostrovsky setting, Katya Kabanova, it definitely doesn’t outstay its welcome. Curiously, Tchaikovsky composed incidental music for the 1873 premiere of the play, generally using the identical folksong melodies. The work is diminished in one other, maybe much more basic method; as a substitute of the everyday massive orchestra – nobody would deny Rimsky’s mastery of orchestration – it’s given by a really small one, with two strings per half (just one double bass), largely single wind (two clarinets and horns), timpani, harp, percussion and keyboard devices. In some ways, it provides a distinct standpoint on the composer. A few of that is probably the orchestral discount, however some, I feel, is a matter of earlier type. It was typically a extra Tchaikovskian Rimsky, a composer nearer to earlier slightly than later Wagner, with some traits tough to put, but, other than considerably characterless arioso writing early on, all the time of musical curiosity, if not all the time as we’d have anticipated from later works.
Clarinet solos (Sascha Rattle) particularly caught the ear: once more, partly the writing, however partly the excellence of taking part in. And the folks derivation of some materials intrigues with out the undue repetition that may generally be the case when it makes its method into artwork music. All through, Hannah Quinn led orchestral and vocal forces in a contemporary, direct account of the rating. If massive moments such because the third-act betrothal kiss essentially misplaced a few of their sensual high quality, dramatic loss was surprisingly small. By that stage, we had listened our method in, and the basic musical technique of structuring had firmly implanted itself in our consciousness. It is probably not a ‘symphonic’ work in the best way we perceive that concept from Wagner – although neither is it making an attempt to be – however there’s attention-grabbing motivic improvement, in addition to a great deal of ‘Russian’ lyricism.
Alasdair Middleton’s English translation served the singers and viewers comprehension effectively. Ffion Edwards gave a touching account, heat and exact, of the title function, with Katherine McIndoe a real, characterful foil as her friend-turned-rival Kupava. Kitty Whately made a wonderful impression as Lel, whether or not in expression of his youthful temperament or his function as conduit for tune. Edmund Danon’s darker portrayal of Mizgir, keenly alert to his moodswings and their bigger import, was equally profitable. Joseph Doody’s Tsar Berendey, eye-catchingly frock-clad, presided over proceedings with swish presence and magnificence of line. Hannah Sandison’s compassionate Spring Magnificence (Snowmaiden’s mom), Jack Dolan’s bluff Bobyl, and Edward Hawkins’s versatile twin flip as Grandfather Frost and Bermyata additionally stood out, however there have been no weak hyperlinks within the solid, who labored very effectively collectively.
Olivia Fuchs navigated effectively the dual calls for of telling what to most could be an unfamiliar story while saying one thing with and about it. Russian, fairytale, and in the end human traces of improvement got here collectively within the determine of the Snowmaiden who yearns to like but can’t since her coronary heart is fabricated from ice. A robust sense was imparted of roots within the strife of her mother and father, Spring Magnificence and Grandfather Frost, justifying a minimum of dramatically what was maybe much less attention-grabbing in ‘purely’ musical phrases. It merged roughly seamlessly with the long-desired passage of winter into spring and likewise, as Fuchs famous within the programme, allowed us to ‘replicate on our modified relationship with, and societal alienation from, nature’s cycles in addition to our interference with them’. This was completed calmly slightly than with overt didacticism, in a resourceful, suggestive staging that may journey to theatres of various sizes throughout the nation. On high of that, a extra feminist – or much less misogynistic – twist was given, in order to save lots of the central protagonist from merely being ‘rescued’ by a person who had ill-treated her. Right here, then, was a story of transformation in a number of, linked methods.
Mark Berry
