Tag Archives: Sir David McVicar

Scottish Opera: Il trittico

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Theatre Royal, Glasgow

When Scottish Opera first announced its 2022/23 60th anniversary season, the plan was for Sir David McVicar to stage all three short operas of Puccini’s Il trittico on the one set with an ensemble cast. At some point along the line that bold notion fell by the wayside, and only one singer – soprano Francesca Chiejina, making a memorable company debut – appears in all three pieces (as does actor Keith MacPherson in small silent roles, including the lively corpse of Buoso Donati in Gianni Schicchi).

The set designs, by Charles Edwards, who is also working with Scottish Opera for the first time, are grand and bespoke for each story, to the impressive extent of a moving barge docking at the quayside at the start of Il tabarro (The Cloak), and the splendidly angular tapering perspective of the cluttered room where Donati dies and Schicchi tricks his family out of the juiciest cuts of his estate.

In between sits the problem piece of the trio, Suor Angelica, the convent-set story of an unmarried mother, a child given up for adoption, another family legacy and the mortal sin of suicide. As mezzo Karen Cargill – terrific in the piece as Angelica’s domineering aunt, “The Princess” – promised in her interview with VoxCarnyx, McVicar manages to redeem Sister Angelica with an inspired staging of the work. Alongside Cargill there are characterful cameos from Chiejina and Scottish Opera Emerging Artist Lea Shaw, and Edwards and McVicar have created what is one of the best uses of a staircase in music theatre since The Sound of Music.

The other crucial ingredient is the performance of Korean soprano Sunyoung Seo in the title role. Another company debut, she is a real find, with a glorious voice across her range, quite thrilling at the top and full of emotional heft, combined with a magnetic stage presence and acting skill. The ending of Suor Angelica has been condemned as sentimental nonsense, but she, and the young lad playing the ghost of her dead child, made it genuinely moving in McVicar’s staging.

She is just as effective as Giorgetta in the soap opera love triangle of Il tabarro, for all its cliches of melodrama. Her complex characterisation matches that of Roland Woods as her barge-skipper husband Michele, and her voice is well paired with that of Russian tenor Viktor Antipenko as Luigi (yet another company debut).

There are no weak links in the vocal casting in those first two operas at all, and that high standard of musicianship on stage is paralleled in the pit across the whole evening, where conductor Stuart Stratford steers a huge orchestra, including some exotic instrumental colours, through a terrific account of a score that is Puccini at the very pinnacle of his powers.

Where Il Tabarro and Suor Angelica are immaculately paced by McVicar and Stratford, Gianni Schicchi comes roaring out of the blocks like a whippet on speed – a riot of colour in set, costumes and sound, and delighting in its hectic ‘70s sitcom aesthetic. That frantic activity builds to Lauretta’s showstopping aria O mio babbino caro (the best-known music in the whole four hours and Francesca Chiejina’s big moment) and then runs out of steam. Woods is fine as Schicchi, but not as funny as some of the Donati family clowning around him, and marooned upstage for too much of the time.

It is an odd lapse by McVicar, who is a master of naturalistic theatrical narrative in opera, but the broad comedy of the most often seen part of this trilogy fails to communicate as confidently as the tragedy of the two earlier tales.

Keith Bruce

Playing hard

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As she prepares for Scottish Opera’s new production of Puccini’s Il trittico, mezzo Karen Cargill talks to Keith Bruce

Sir David McVicar’s new production of Puccini’s problematic late-career triple-bill Il trittico will, Scottish Opera has said, address the difficulties inherent in staging its three contrasting stories in a single evening with adaptable staging and an ensemble cast.

The success or otherwise of the approach will become clear at the Theatre Royal on Saturday, but the presence in the company of Scotland’s star mezzo-soprano, Karen Cargill, already signals a departure from the plan.

Cargill will be seen only in the central – and most problematic – of the three pieces, singing La Principessa in Suor Angelica, the thoroughly nasty regal aunt of the titular heroine. While the first story, Il tabarro (The Cloak), is a dramatic dark tale of love and murder on a barge, and the last, Gianni Schicchi, a fun comedy that is often seen as a stand-alone, the sentimental convent-set all-female Sister Angelica is about unmarried pregnancy, suicide and redemption.

It is possible to draw interesting parallels with the composer’s own life from the original story by librettist Giovacchino Forzano (who also wrote Schicchi), but the fact that the venerable Kobbe Opera Guide devotes just a single paragraph to Suor Angelica while finding two pages of things to say about the other two parts of Il trittico speaks of the way the middle tale is often regarded.

Unsurprisingly, Cargill thinks that McVicar’s version will sort any problems. Her own casting certainly bodes well, as it builds on her acclaimed performance as Mere Marie in Poulenc’s Dialogues de Carmelites at the New York Met. In fact she will return to that role in a new production by Barry Kosky this summer, the first time Glyndebourne has tackled the work.

“The Principessa is an extraordinary character because she is so hard, which is a treat to play, because I don’t get to play many characters like that.

“She is a little like Mere Marie in Carmelites, who is someone who has a strong belief system – the Word of God is everything and it dictates how she reacts and communicates. Mere Marie is often seen as a real baddy, but I don’t think she is in the way the Principessa in Suor Angelica is.”

The scene between The Princess and her niece is the dramatic heart of the tale. Arriving to have Angelica renounce her claim on the family fortune, she brutally tells her that the baby she gave up is dead. Patricia Bardon tried to soften the delivery of the crucial line in a touring Opera North staging a few years ago, but that will not be the way Cargill delivers it for McVicar.

“It is a test not to show compassion, because Sunyoung Seo, who is playing Angelica, is so gorgeous and so immersed in the whole thing. The aria I have is angular but dramatic, so it has that romantic Puccini language but with a hardness there.

“I’ve seen so many of David McVicar’s shows over the years, and I always thought that it was the type of story-telling that I want to do. That’s the beauty of this job, that you get to play complex characters who are not one-dimensional.”

As for the contention that Suor Angelica is the sentimental weak link in Il trittico, Cargill is having none of it.

“This production is emotionally direct and truthful. The thing with David’s work is that all the characters are recognisably human. It’s emotional but not sentimental – it’s direct.

“I don’t know why it is less admired because I think it is an extraordinary piece. I think people will fall in love with it, because of how it is done.”

The production is part of  a busy year for the mezzo, who recently seemed to be taking a step back from her performing schedule when she accepted a post as Interim Head of Vocal Studies at the Royal Conservatoire of Scotland.

“There’s been quite a bit of travel recently, just when you’d got used to being at home, for the first time in 20 years.

“Once this closes I go to Brazil for Bluebeard’s Castle with Sir Richard Armstrong and the Sao Paulo State Symphony. I am going a few days early rather than just turn up and sing, so I’m in Brazil for ten days.

“Then there’s an SCO tour of Berlioz’s Les nuits d’ete [St Andrews, Edinburgh and Glasgow], before a  teaching residency and a concert at Sir James MacMillan’s Cumnock Tryst. I drive to Glyndebourne the day after that and start on the Monday.

“I couldn’t give the Head of Vocal Studies job the full energy that I wanted to give it, and sing at the same time. I would have had to have stopped singing, and that’s my addiction. But I still want to work with young singers and share real information.

“So I’m no longer head of department but still an Associate Artist, so this year I work with third and fourth year undergraduates. It’s about eight visits across the year, and I am taking two sopranos, a mezzo, two tenors and a baritone to Drumlanrig Castle at the end of next month, at the end of which they perform at the Tryst.

“I encourage students to listen as widely as they can but also not to become locked in to what someone else does. That emotional freedom and curiosity about how to perform a piece is important. Music is about joy and communication and you must not lose the ability to play around with that.”

Recently signed to the big international agency Askonas Holt, Cargill happily lists works (the Trojans by Berlioz and any number of Verdi roles) and theatres (La Scala, Milan and Sydney Opera House) that she hopes lie in her future.

“If it happens, great, but if it doesn’t that’s OK. You have to be realistic. I’ve never had a set path of things I want to accomplish. I’d love to sing Carmen but I don’t think it will ever come my way.”

Puccini’s hard, bad Princess is what obsesses her at the moment, and she is excited about revisiting the Poulenc, a work she first sang as a student in Glasgow.

“It is the most extraordinary music. There is a constant sense of unease, you never get to relax in Carmelites. The Kosky production could be radical and I’m up for that – we should all be challenged every day.”

Scottish Opera’s Il trittico opens at Glasgow’s Theatre Royal on Saturday March 11 for three performances, followed by two at Edinburgh’s Festival  Theatre. Full details scottishopera.org.uk

Scottish Opera fighting fit

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Alex Reedijk and Stuart Stratford tell Keith Bruce about the company’s new season

Recognising the nation’s collective slow recovery after Covid, Scottish Opera’s General Director Alex Reedijk emphasised the rude health of his company, in its 60th anniversary year, when he launched its first full season following the pandemic.

His words were peppered with metaphors from the gym, as he talked of “new muscles” built during the health emergency that bring confidence to work presented outside conventional theatres, and of ScotOp being happy to undertake the “heavy lifting” in developing new productions on which other companies are happy to come aboard as co-producers.

The two shows he was referring to are the boldest projects on the new slate of work, which opens with the current revival of Don Giovanni in Sir Thomas Allen’s 2013 production, touring to Inverness, Edinburgh and Aberdeen after the Glasgow performances.

It is followed in August by Leonard Bernstein’s Candide, performed in a specially-constructed tented venue behind the company’s production studios in Glasgow’s Edington Street, on a space now styled “New Rotterdam Wharf”. The production’s precursor in the company’s repertoire is the promenade staging of Pagliacci in Paisley in July 2018 rather than either of the Edington Street car-park operas, La boheme and Falstaff, it mounted while theatres were closed.

“We are using what we’ve learned about the robustness of the art form, on a piece that occupies a really important place in the life of Scottish Opera,” said Reedijk.

The “Scottish Opera version” is regarded as the go-to score of Candide. It was made in the 1980s with the approval of the composer, who was present in Glasgow, by his student John Mauceri, the company’s music director at the time.

“It is about displaced people and we are working with the Maryhill Integration Network to recruit members of the community chorus, which will team 80 volunteers with 20 professional singers,” added current music director Stuart Stratford.

Stratford has plenty of experience in this type of work, having worked with director Graham Vick in Birmingham Opera and with Tete-a-Tete Opera. Freed from the restrictions of Covid regulations, the potential audience for each of Candide’s half-dozen performances will still be limited to 400, that being the number that Vick demonstrated could reasonably be shepherded and stewarded to each of the performing stages without slowing the action.

“I loved working with Graham Vick on those shows,” said Stratford, “and hopefully there are people who will feel able to come to something that is well-ventilated and semi-outdoors who might still have misgivings about visiting a theatre.”

Reedijk has plans to have a performance filmed, although no specific platform is signed up to broadcast it. That was a tactic the company used for the recent production of Gilbert and Sullivan’s The Gondoliers, recently transmitted on BBC Four and watched by over a quarter of a million people around the world.

November sees Scottish Opera back in the Theatre Royal and Festival Theatre with what will be the UK’s first staged production of Argentinian composer Osvaldo Golijov’s Ainadamar.

“It premiered in 2003, and is a series of reflections on the life of Federico Garcia Lorca,” said Stratford. “It has been done in static way as an oratorio in London, but the music is unbelievably dramatic.”

With Latin-American percussion in the pit and flamenco dancers on the stage, choreographer Deborah Colker will direct a show that has been developed in partnership with Opera Ventures, who were also involved in Greek in 2017 and Breaking the Waves in 2019.

“Those shows have made possible co-production partnerships with New York’s Metropolitan Opera and Detroit Opera as well as with Welsh National Opera,” said Reedijk.

Like much of the season Scottish Opera can now unveil, Ainadamar was in the works before the pandemic.

“The Gondoliers was delayed because of Covid, and the opening for A Midsummer Night’s Dream was stopped because of it. Ainadamar we had been cooking up with Opera Ventures, and Il Trittico we’d been talking about with David McVicar since before the lockdown,” said Reedijk.

The Puccini triple-bill will reach the Scottish stage in March, before which Sir David McVicar’s last two Scottish Opera productions will have opened in Santa Fe (Falstaff) and Los Angeles (Pelleas et Melisande).

Also a co-production with WNO, Il trittico has never been staged in its entirety in Scottish Opera’s 60 years, nor has McVicar previously directed it. Il tabarro (The Cloak), Suor Angelica (Sister Angelica) and the comic Gianni Schicchi are distinct and contrasting stories, but McVicar is adopting an ensemble approach with a cast that includes company stalwarts Roland Wood, Sinead Campbell-Wallace and Karen Cargill and shared elements in the set design by Charles Edwards.

With a dinner-length interval before the concluding tale of the trilogy, Scottish Opera is selling Il trittico as an epic night out, a visual theatrical feast and a big work out for the orchestra. As with all but the last of the staged productions in the new season, Stratford is conducting.

For that final show in May 2023, Australian-Chinese conductor Dane Lam is on the podium for Bizet’s Carmen. Sung in English, it will be directed by John Fulljames, director of the much-lauded 2020 staging of John Adams’ Nixon in China, with that show’s Madame Mao, Korean soprano Hye-Houn Lee, in the cast, and Justina Gringyte in the title role, as well as parts for four of the company’s current Emerging Artists: Zoe Drummond, Lea Shaw, Osian Wyn Bowen, and Colin Murray.

“Coming out of Covid we wanted to demonstrate ambition,” said Reedijk. “So there is work that we know audiences will be interested in like Carmen and Don Giovanni, but also something of the scale of Trittico, the artistic diversity of Ainadamar, and the curiosity of Candide for people to respond to.”

Nor is that the full story of course. Already announced are new dates for the company’s travelling outdoor shows, Pop-Up Opera, and two tours of Opera Highlights to community halls across Scotland. Building on the success of the Puccini Collection concert in Dundee’s Caird Hall, which incorporated long scenes from the composer’s operas in concert, The Verdi Collection will play in Aberdeen, Inverness, Glasgow and Edinburgh. Stratford will direct the Orchestra of Scottish Opera and sections of Otello, Don Carlos and La Forza del Destino will feature.

There will also be a staged concert performance of Massenet rarity Therese at East Lothian’s Lammermuir Festival and in Perth Concert Hall in September, directed by Roxana Haines with Estonian Anu Tali conducting. Haines also directs the Scottish Opera Young Company’s summer show, Rubble, composed by Gareth Williams with a libretto by Johnny McKnight, and Young Company Artistic Director Chris Gray conducting. And Gray MDs a touring revival of the Lliam Paterson’s opera for babies, BambinO, with Charlotte Hoather and Samuel Pantcheff.

All of which means that Scottish Opera will more than achieve the aim of its CEO that it visits 60 places in Scotland to mark that anniversary year. “We are in good order, and in good health,” said Reedijk.

General booking for Scottish Opera’s new season opens on Tuesday, May 31. More information is available at scottishopera.org.uk.

Picture: Scottish Opera’s 1988 production of Candide