St Mary’s, Haddington
There will, inevitably, be those who think otherwise, but the decision to press ahead with Scottish Opera’s Lammermuir Festival performance of lost Massenet opera Therese an hour after the news was announced of the death of the Queen was the correct one. The audience stood for a minute’s silence and listened to a (rather good) playing of the National Anthem by the orchestra before the show, but it was the work itself that turned out to prompt thoughtfulness about the monarch’s legacy.
Of course, as Chinese premier Zhou Enlai is alleged to have said of the French Revolution: “It is too soon to tell”. Massenet and his librettist Jules Claretie, biographer of Moliere and director of the Theatre Francais, were making a similar point in the first decade of the 20th century about the events of the last decade of the 18th in France.
If “Marianne” is the female symbol of the revolution, Therese is a more realistic depiction of French womanhood, caught between loyalty to her Girondist partner Andre Thorel, offspring of a lower-middle-class working man, and memories of her previous lover, Royalist nobleman Armand de Clerval.
Those three are the story, and Scottish Opera’s recent deft form in casting is continued here with Lithuanian mezzo Justine Gringyte ideally suited to the demanding range of the vocal line of the titular heroine, baritone Dingle Yandell looking as well as sounding the part as Andre (were he to consider slumming it in Les Mis, he’d be Jean Valjean), and former Scottish Opera Emerging Artist Shengzhi Ren having a welcome opportunity to show off his powerful but relaxed tenor voice.
Credit should go to the work of the language coach on the production, Florence Daguerre de Hureaux, for what is very fine diction of the text by all three – outstanding in Yandell’s case – as well as from everyone on stage, including the smaller roles and compact men’s chorus.
There are also surtitles, and that clarity (as the well-named librettist would surely concur) is important, because the background debate of ideas is as crucial as the love triangle onstage.
Yandell’s early aria, and duet with Gringyte, declares that “we must love to live” – condemning revolutionary hate, despite his loyalty to the cause – while Gringyte’s Act 2 opener of longing for the open meadows of rural France is a recognition of the values of the ancien regime in the face of the Terror outside the Paris apartment in which she – and, secretly, Ren’s Armand – are holed up.
Idealists in their own way, Massenet and Claritie are arguing, during La Belle Epoque, for pragmatism instead of extremism – an accommodation of the strengths of France’s Royalist past within the egalitarianism of the Third Republic.
The composer – a tunesmith and orchestrator of proven skill, whose work we hear too little of and whose vast catalogue is scarcely covered in most opera guides – provides a sumptuous score to this debate. That early baritone aria comes with lovely pealing winds and the most captivating orchestral scoring accompanies the romantic memories of both male characters in Act 1.
The music does the work again in the move to Paris from the chateau near Versailles at the opening of Act 2, but staff director Roxana Haines contributes with eloquent simplicity in the staging, replacing the often-sung-about stone bench in the chateau garden with a covetable chaise (courte, rather than longue). The costuming is similarly stylish and pithily expressive, Gringytye elegant in black, blue and mauve, the chorus of revolutionaries in caps, Andre sporting the inevitable neckerchief, and Armand, amusingly, an aristocratic Barbour coat.
The sightlines may not be ideal in St Mary’s but the acoustic is wonderful, and guest conductor Alexandra Cravero, who is immersed in this repertoire and had the orchestra playing superbly, produced a balance that was ideal, every detail of the music emerging with clarity and the singers always perfectly audible.
Repeated at Perth Concert Hall tomorrow, Saturday September 10, at 7.30pm
Pictures by Sally Jubb