photography by Laurent Compagnon
Upstairs At The Gatehouse is the resident playhouse for Hampstead Garden Opera, a company that exists to provide, among other things, a platform for fledgling young opera singers to hone their craft before tackling some of the industry’s big-hitters. In aiming to achieve ‘professional standards within an amateur framework’, this organisation more than fulfils its objective. I was extremely impressed by both the standard of performance and the discovery of diverse singers at varying stages in their careers. The venue was also a revelation for me; yet another great stage tucked away in the upper stories of a pub. Top marks for offering Royal Opera House standard ice creams at fringe playhouse prices at the interval; I recommend the Honey and Ginger for your next visit!
On to the action and my ringing endorsements continue. The opera buffa was presented in English, with a sparky and witty libretto that set the scene in Sicily during World War II. The set was minimal and functional, yet effective. I have recently performed excerpts from this opera, so I was poised to criticise anything that fell out of line with my own ideas. However, I must say, I was delighted to be treated to a number of different slants on characters and relationships throughout the evening. Nick Pritchard (Ferrando) and Jake Daichi Gill (Guglielmo) captured the camaraderie of two war comrades and also succeeded in conveying the ultimate hurt that these friends cause each other. I also commend them for embracing and showcasing the youthful qualities in their voices, for it is all too often that one hears a strangled Pavarotti wannabe in an amateur opera performance. Faustine de Monès (Fiordiligi) and Katie Slater (Dorabella) also complemented each other admirably, with the latter convincingly appearing to be the more coquettish of the two, who ultimately turns first for her naïve friend to follow. The undisputed star for me was Alice Rose Privett, whose portrayal of Despina was masterfully sung and coyly acted throughout.
The performance was accompanied by the Musica Poetica London Orchestra, who gelled with the modern interpretation of the music, while maintaining Mozart’s quintessential touch. Hats off to Dorian Komanoff Bandy, for fulfilling the tricky role of conductor and fortepiano player; his recitative accompaniment was at all times refreshingly evocative.
Unfortunately this great run has just come to a close, however, I recommend you get in early with reservations for HGO’s forthcoming production of Monteverdi’s ‘L’Orfeo’ in November. I predict yet another sell-out run.
Visit the HGO website here for more information.
Written by a Thoroughly Modern Man, Mark McCloskey.
