SHORTS – A FESTIVAL OF POCKET OPERAS. Directors: Fred Abrahamse, Marcel Meyer (Trial by Media), Magdalene Minnaar (La Voix Humaine), Elisabeth Manduell (Der Schauspieldirektor). Casts: Van Wyk Venter, Brittany Smith; Janelle Visagie; Dean de Klerk, Lonwabo Mose, Alida Scheepers, Dineo Bokala, Mongezi Mosoaka. Musical Directors and Pianists: José Dias, Robin Phillips. Images: Kim Stevens. At Artscape Arena, Cape Town.
BEVERLEY BROMMERT reviews
Three operas. Three composers. Three directors. Three casts. All distinctively different, but with one common denominator: polish. This trio of productions convincingly illustrates the versatility of Cape Town Opera.
Ingenious use of the Arena’s compact stage, with basic sets and deft lighting, results in a presentation far more evocative and sophisticated than might be expected from the limited facilities of this venue, while its intimacy is ideal for the setting of the works performed.
Spanning three centuries, from the age of Mozart to the present day, Trial By Media, La Voix Humaine, and Der Schauspieldirektor take the audience viewing them in a single sitting on a voyage of discovery through a landscape of radical contrasts, both emotional and intellectual.
From a topical and timely exploration of dehumanising social media, to a heart-wrenching study of a mind progressively unhinged by dementia and grief, to the sprightly satire of corruption in the performing arts, directors, musicians and vocalists combine forces to hold the spectators’ attention for several hours. That is in itself a tour de force worthy of note.
Terse but compelling work
First up is the 2024 première of Trial by Media, its libretto by Schalk Schoombie with music by Conrad Asman. Tracing the tragedy of Paralympian Oscar Pistorius and his murdered girlfriend Reeva Steenkamp, this terse but compelling work is an unnerving synthesis of impersonal court procedure and intense emotion, with recurrent interference from social media.
The latter becomes a third player in this sensational drama, all the more sinister for being anonymous yet potent.
Asman’s music is moody and disconcerting with passages of idiosyncratic beauty to reflect the shifting emotions of the opera’s protagonists. It is well served by José Dias’ fluent keyboard and, in particular, by lyrical ensemble from the chorus of six who represent the monster of public opinion/paparazzi/social media.
Marcel Meyer’s astute costuming presents monochromatic austerity relieved solely by scarlet (colour of blood and passion) and white (suggesting death and innocence).
Gorgeously gowned and extravagantly glamorous, Reeva (Brittany Smith) movingly delivers all too few arias, the last one being the most poignant as, barefoot and vulnerable, she sings of sorrow at her troubled relationship with Oscar. Van Wyk Venter is credible as Pistorius, the hero with feet of clay; he is at his best in resonant pleas with the Judge to show clemency.
As the final, arresting vision of Reeva’s apparition looms over Oscar’s cell, the audience is left pondering over this salutary critique of our society as well as the destructive power of the human ego…
The heart rather then the head
By contrast after the spectacle and complexities of Trial by Media, Poulenc’s La Voix Humaine, adapted from Cocteau’s 1930 monodrama, is enough to wring tears from a stone: this is for the heart rather than the head.
Sensitively directed by Magdalene Minnaar and delivered with deep commitment by Janelle Visagie, this version recreates all the pain of the earlier one from the same collaboration some years back. This updated reading has the added pathos of dementia to intensify the suffering of Elle (the nameless protagonist), abandoned by her lover to despair and the dubious comfort of tranquillizers.
Apart from her superlative acting, Visagie’s voice is enriched by maturity to capture all the nuances of anguish that make this a covetable role, despite its manifold challenges.
Mozart at his most impish
Following these two diversely dark works is the sparkle of Mozart at his most impish: Der Schauspieldirektor, directed with the requisite lightness of touch by Elisabeth Manduell.
Set in contemporary Cape Town, this unedifying tale of venality in the performing arts is just as convincing and relevant as it was in the 18th century. Divas whose inflated sense of their worth makes them drive a hard bargain when negotiating a contract; a battle-weary and cash-strapped impresario tempted to yield to the lure of bribery; most of all, the perennial struggle to keep stages occupied by performers when there is nothing in the kitty…the more things change, the more they stay the same.
As the eponymous character, Dean de Klerk has no demands made on his ability as a vocalist, but his recitative is more than adequate. Bass-baritone Lonwabo Mose, by contrast, fills the theatre to the rafters with his powerful lungs and zesty execution, while soprano Alida Scheepers steals the show with emphatic arias enlivened by humour, matched in brio by newcomer Dineo Bokala. Mongezi Mosoaka, improbably named Mr Angel, adds further flash and fun to the action.
Pianist Robin Phillips provides indefatigable accompaniment with Mozart’s music skilfully re-scored for his instrument.
A fitting finale to round off this substantial operatic excursion in high good humour. Bravi, tutti!
What: Shorts – A Festival of Pocket Operas
Where and when: Artscape until 21 April 2024
Tickets: Webtickets
WS
