The Roundhouse is the latest of the Royal Opera House’s ventures away from Covent Garden, another being the Sam Wanamaker playhouse at The Globe. The circular building (a former engine shed in North London, and one of my haunts in earlier rock concert days) made an impressive, if acoustical tricky, venue for Monteverdi’s Orfeo. The audience sit in a 270° arc around the off-centre circular stage with the instrumentalists of the Early Opera Company at the back of the stage.
The Prologue opened with a young and rather sour looking Pluto and his entourage processing down a long sloping gangway onto the stage and up to a raised dais above the orchestra and what turned out to be the entrance to Hades. The gods were accompanied by be-robed priests who turned out to be the three Pastore (billed as ‘Pastors’ – very droll). It had the air of a court house, with the gods sitting in judgement as the scene unfolded below. Musica (who turns into Euridice via an on-stage costume change) sat with Orfeo draped pieta-like across her lap, a touching scene reversed at the end of the evening.The only prop was a simple chair, with the other scenes created by a lively group of 14 child dancers and acrobats (from East London Dance) who created arches through which the protagonists moved, as well as the ripples of the Styx.
This was the first attempt at opera direction by the Royal Shakespeare Company’s former Artistic Director, Michael Boyd, and he sensibly resisted the temptation to overly embellish the plot. The sparse setting allowed the focus to be on the music itself, something that the young singers rose to with considerable aplomb. The Transylvanian baritone, Gyula Orendt was a most impressive Orfeo, the clarity of his voice overcoming some slight pronunciation difficulties and the curious spectacle of him being hoisted precariously into the air at the end. Mary Bevan was outstanding as Euridice and Musica, both with her acting and the beauty of her voice. The other members of the cast were of a similar high standard, including the chorus drawn from Guildhall students. However, I was not convinced about casting Susan Bickley as the Messenger. The playing of the Early Opera Company and Christopher Moulds’ musical direction was spot on. There is more I could write about some of the production issues, but will certainly remember this as a fine musical event.
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