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REVIEW: Martin Dreyer’s verdict on Opera North in The Magic Flute, Leeds Grand Theatre, September 28

Opera North in James Brining’s revival of The Magic Flute. Picture: Tristram Kenton

FOR the start of her first full year as general director, Laura Canning is presiding over an autumn of three revivals, of which this production by James Brining is the first.

Doubtless she had no say in the schedule, but it still looks cautious, especially when viewed in the wake of, for example, Buxton Festival’s five new productions this summer.

Brining operates as artistic director of Leeds Playhouse, just a short walk away from the Grand Theatre, and this had been his first full operatic production. It still shows signs of over-calculation.

Before the curtain we are treated to a welcome designed to embrace newcomers. Old-stagers might have regarded it as patronising but, seen alongside a bare-bones outline in the programme of what constitutes opera in the first place, it is arguably a useful introduction to an artform that too many have found intimidating: an attempt to cast the audience net more widely, in other words.

This process must be treated gingerly, however, if the company’s core audience is not to be deterred. The overture is intended as an introduction, presenting themes and building anticipation.

All of that is dissipated when it is overlaid with a dumb show, based on Bergman’s cinematic view of the whole work being a child’s dream/nightmare, that has little or nothing to do with Mozart. So, overture and dumb show are at odds with one another: in our screen-obsessed age, the eyes take over and the overture goes for naught.

As it was, Christoph Koncz, making his Leeds debut, opened the overture very slowly and followed with an extremely rapid allegro, which the orchestra – now under its new leader Katie Stillman – handled with panache. Thereafter Koncz impresses with the transparency of the textures he conjures.

Egor Zhuravskii has graduated from Fenton in Falstaff to Tamino here, and does so smoothly enough. Narrow at the start, his tone opens out over time but remains a little dry, albeit stylish. There is not much genuine feeling between him and Claire Lees’s admirable Pamina, but she entrances with every appearance and sounds ready for greater things.

Leaning heavily on his Welsh lilt, Emyr Wyn Jones makes an affable dunderhead of Papageno, almost taking the pantomime route, while Anna Dennis makes an imposing Queen of Night, edgy, determined and accurate.

Msimelelo Mbali, as Sarastro, lacks the gravitas shown by Andri Björn Robertsson’s Speaker, but his bass grows in authority in Act 2. Colin Judson offers an apt irritant as Monostatos, in place of the repellent figure we had last time.

Pasquale Orchard makes a charming Papagena, although she is introduced to Papageno early and deprived of her ‘old lady’ disguise. Many of the lesser roles are ably assumed by members of the chorus, proving its versatility.

Colin Richmond’s flexible set proves its worth once again, as does Douglas O’Connell’s high-impact video effects.

Brining envisaged Blakean poles of innocence and experience. He might instead have allowed Mozart and Schikaneder – in Jeremy Sams’s colloquial translation – to speak for themselves. The plot is complicated enough as it is.

Review by Martin Dreyer

Performances: Leeds Grand Theatre, February 12, 13, 15 and 22 2025, 7pm. Box office: 0113 243 0808 or leedsheritagetheatres.com. Hull New Theatre, March 27 and 29 2025, 7pm. Box office: hulltheatres.co.uk.

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REVIEW: Martin Dreyer’s verdict on Opera North in ‘eco-entertainment extravaganza’ Masque Of Might, Leeds Grand Theatre

Andri Björn Róbertsson as Nebulous, Xavier Hetherington as Scrofulous and Matthew Brook as Sceptic with Chorus of Opera North members in Masque Of Might. All pictures: James Glossop

APART from Dido & Aeneas, Henry Purcell’s main contribution to drama lies in what Roger North was pleased to call “semi-operas”, no doubt with a slight sneer in his voice.

But there is plenty of drama, too, in his choral music, notably his odes for Queen Mary’s various birthdays and for St Cecilia’s Day and even – appropriately for Leeds – in The Yorkshire Feast Song of 1690.

These and more, including sacred music, provided the treasure-trove from which David Pountney cobbled together 44 musical extracts for Masque Of Might, a crazy extravaganza whose world premiere run he directs here.

Anna Dennis’s Witch in Opera North’s world premiere of Masque Of Might

There is no spoken text of any kind, merely what Pountney himself calls “creating a narrative by the law of zany juxtaposition”. In truth, Purcell’s semi-operas are not compellingly coherent either, rather the opposite. So this exercise has its justification. But it can only be understood as masque: searching for a narrative thread here is distracting, and ultimately self-defeating.

Fittingly for Opera North’s Green Season, Masque Of Might is described as an eco-entertainment. Its storyline, such as it is, subsists around dictatorship and ecology and their impact on one another. At its centre is a dictator, handily named Diktat, whose birth into a giant pram is celebrated by Tousel Blond and Strumpet Ginger, two countertenor sycophants (cue ‘Sound The Trumpet’ and ‘Come Ye Sons Of Art, Away’), and frowned on by the watching gods, Nebulous and Elena.

The latter becomes Diktat’s prime antagonist throughout. Several climate change activists are thrown into prison by an angry Diktat (‘Hear My Prayer, O Lord’), after he is warned of the earth’s declining health. One is murdered and Elena laments (‘The Plaint’ from The Fairy Queen).

Callum Thorpe as Diktat with the Masque of Might dancers at Leeds Grand Theatre

Act 2 sees Diktat at first displaying his machismo by killing a boar, but gradually the tide turns, as those who have praised Diktat now acknowledge the empty flattery that surrounds him. A series of nightmares forces Diktat to face up to nature’s cries (‘’Tis nature’s voice”) – melting glaciers, forest fires, a trembling earth – and to visit a fortune-teller for a vision of the future (Saul and the Witch of Endor).

Warned that he will forfeit his kingdom, his power crumbles and he is destroyed. Light returns and the earth’s recovery begins (‘Welcome, Welcome Glorious Morn’).

Mere narrative alongside a handful of the better-known Purcellian extracts omits episodes that see-saw between the faintly ludicrous and the deadly serious. These include slapstick clowns struggling with ironing boards; a huge sci-fi insect; a Putin look-alike puppet dangled by a Seer; a vision of Stalin as adviser in a caravan (imported from the same season’s Falstaff); death by electric chair and a chainsaw-wielding chorus.

Anna Dennis as Elena and Andri Björn Róbertsson as Nebulous in Opera North’s Masque Of Might

While Leslie Travers’s sets emphasise the value of the everyday, David Haneke’s video designs take us from circling planets to catastrophic natural events brought about by climate change and Marie-Jeanne Lecca’s kaleidoscopic costumes change moods and eras at will.

Callum Thorpe’s forthright bass exudes authority and gravitas as Diktat, a commanding presence and an admirable hate-figure. Anna Dennis’s chic soprano lends style to the otherwise under-written role of Elena and doubles usefully as the Witch. James Laing and James Hall pair well as the sycophants, although neither has quite the strength in their lower range so often demanded by Purcell from his countertenors.

Xavier Hetherington’s ringing tenor makes the most of his four roles, notably as Seer and Saul. Both Matthew Brook and Andri Björn Róbertsson offer strong baritone contributions in a variety of cameos.

Going green in Opera North’s Green Season: Chorus members in Masque Of Might

The chorus sings confidently and holds its own well in Denni Sayers’s lively choreography alongside several professional dancers, finishing as pompom-wielding cheerleaders. Harry Bicket’s expertise in earlier musics everywhere shines through his eager orchestra, whose momentum is untiring.

Although Huw Daniel is cited as editor of the musical numbers, David Pountney deserves the laurels for mounting this extraordinary show, which at the very least introduces us to parts of Purcell that others never reach. He sticks quite closely to the original texts but is not averse to making subtle alterations that fit his scenario, in a period literary style that essentially disguises their newness.

There is, for my money, not enough character-building outside that of Diktat and there is over-emphasis on baritone and countertenor voices. But as a highly imaginative revitalisation of masque, it deserves immense praise.

Further performances in Leeds until October 27, then on tour until November 16. Box office:

Review by Martin Dreyer, October 14

Jonny Aubrey-Bentley, left, Rose Ellen Lewis, Ruby Portus and Ben Yorke-Griffiths as the Masque of Might dancers in Opera North’s world premiere

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REVIEW: Martin Dreyer’s verdict on Dunedin Consort in Out Of Her Mouth, York Early Music Festival

Carolyn Sampson: “Finding fighting form as both the heroine and her nemesis”. Picture: Marco Borggeve

York Early Music Festival: Dunedin Consort in Out Of Her Mouth, National Centre for Early Music, York, July 12

RARELY has York Early Music Festival dipped its toes into operatic waters, but it conjured some real drama from this unexpected plunge. In a co-production by Dunedin Consort, Hera and Mahogany Opera, directed by Mathilde Lopez, three biblical cantatas by Élisabeth Jacquet de la Guerre were brought together to make what amounted to a one-act opera involving three excellent sopranos, singing an English paraphrase by Toria Banks.

Jacquet was born into a family of musicians and instrument makers in Paris in 1665 and became its most illustrious member, renowned as a composer and harpsichordist. She married the organist Marin de la Guerre in 1684 and ten years later became the first woman in France to write an opera, Céphale et Procris.

Her 12 sacred cantatas of 1708, to texts by the poet and playwright Antoine Houdar de la Motte (1672-1731), deal with characters from the Bible, although she uses only a soprano and continuo plus a violin ad lib.

This means, for example, that in Susanne, the soprano must handle both the title role and that of the two elderly gentlemen ogling her swim, in addition to being narrator. It was a tall order but Anna Dennis rose to the challenge, sporting jeans and T-shirt inscribed “Keep your laws off my body”.

Wrongly accused by the disappointed gents, Susanne is acquitted in court. Hardly what you might expect from Baroque opera, but Jacquet’s concept was undoubtedly vivid. Not for the first time, Lucia Capellaro delivered a searing cello line to accompany Dennis’s well-wrought tension.

Alys Roberts, in full white wedding finery, sparkly top and shiny boots, represented Rachel in the second cantata, which was originally entitled Rachel and Jacob. She was called upon to play her fiancé Jacob as well as her father Laban, who effectively demolished their wedding plans by substituting his elder daughter Leah for Rachel at the altar.

Although her declamation was not always clear, there was no doubting Roberts’s commitment, forthright in her own bitter disappointment, indignantly menacing as Jacob and smugly philosophical as Laban delivering the moral that we cannot always have what we want.

Toria Banks confessed that her version moved the focus away from Jacob towards Rachel’s own feelings, in keeping with the thrust of the evening.

The third cantata Judith was much the most ferocious, with Carolyn Sampson in a silk shift finding fighting form as both the heroine and her nemesis Holofernes, fortunately playing the latter before drunkenness took hold of him. In the interlude while he fell asleep, harpsichord and theorbo were silent, allowing violin and cello gently to the fore. Otherwise, all was rhythmic fire.

The “beheading” was achieved with two large watermelons that were beaten to a pulp, their pieces collected and held up triumphantly in a bag before being kicked like a football. It was gruesome enough. But Sampson kept her head, veering between trepidation and the excitement of revenge with a determined focus.

The specially constructed stage, built higher and wider over the permanent one with the four players at the back, made for easy sightlines. The non-singing sopranos in each cantata acted as accomplices to the protagonist, giving an over-arching unity to the three scenes.

Without access to the original French, it is hard to know how close Toria Banks’s paraphrase – she calls it a “version” – steers to Jacquet’s intentions, but the production emerged as feminist polemic. What it certainly achieved, regardless, was to underline the imaginative power of Jacquet’s scores, both rhythmic and harmonic, giving them an extra impetus they thoroughly deserved.

Review by Martin Dreyer

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National Centre for Early Music marks International Women’s Day with premiere of Sarah Cattley’s Rossignolet on March 8

Ensemble Moliere: Premiering Sarah Cattley’s Rossignolet on International Women’s Day

THE National Centre for Early Music, in York, is celebrating International Women’s Day on March 8 – and throughout the year.

A new composition, Rossignolet, by 2019 NCEM Composer Award joint winner Sarah Cattley, commissioned by BBC Radio 3, will be presented by the all-female instrumentalists Ensemble Moliere in a broadcast at 1.30pm on Wednesday.

The concert will be available on catch-up on BBC Sounds at: https://www.bbc.co.uk/programmes/m001jlp3.

Looking ahead, women composers will be highlighted within this summer’s York Early Music Festival, led off by a new work by Lithuanian composer and NCEM alumna Juta Pranulyte, commissioned jointly by NCEM, The Marian Consort and the Rose Consort of Viols.

Three miniature operas by the late-17th century French composer Élisabeth-Claude Jacquet de La Guerre, telling the heartrending stories of three Biblical women, will be sung by Carolyn Sampson, RPS Vocal Award 2023 winner Anna Dennis and Alys Mererid Roberts. BBC New Generation Artist Helen Charlston will present her award-winning Battle Cry!.

York Early Music Festival 2023 will run from July 7 to 14 with a theme of Smoke & Mirrors. Tickets will go on sale on March 6 at ncem.co.uk and on 01904 658338.