Hatstand Opera
Hatstand Opera, a quartet of operatic eccentrics, appeared in the Speech Hall on 18th November Cranleigh to give staff, pupils and members of the public a taste of the alternative, ‘fun’, side to operatic music. Exploring a wide spectrum of opera in two ‘acts’, from the ‘operatic male bonding’ of Bizet’s ‘Au fond du temple saint’ from ‘Les Pêcheurs de Perles’ to the most amusing ‘Twenty-first Century Chicken’ by Kesselman, complete with appropriate stage props, the lively singers presented an animated two hours of entertainment, the theme of which was murder. With each piece involving mention of at least one murder, a total of thirteen murders after the fifth number, ‘Where, what oh terror’ from Weber’s Der Freischütz, was impressive but did not anticipate the record forty-three murders by the end of the evening when all four singers dropped dead and the final figure was proudly presented on the scoreboard by the excellent pianist, Jeremy Fisher!
The performance of Weber’s movement was possibly the highlight of the evening as soprano Toni Nunn appositely communicated the fear of a confused girlfriend and tenor Richard Owen gave a heartfelt demonstration of the boyfriend’s attempts to resolve the couple’s dispute. Mezzo-soprano Kirsty Young (not of broadcasting fame) had a very amusing role in this number, being on the periphery of the couple’s exchange, for the most part merely providing a harmony line whilst looking somewhat awkward! A brief enlightening discussion with the younger members of the audience ensued on the miracles of vocal chords and many seemed genuinely amazed that their perpetual loquaciousness could depend on such small entities. Jochem van Ast, soon to be employed by the Royal Opera House, Covent Garden, had a number of opportunities to exhibit his rich baritone voice, particularly in the ‘Drinking Song’ from Hamlet by Thomas and in his elegant execution of the graceful appoggiaturas in Mozart’s ‘Bei Männern’ aria from Die Zauberflöte.
Richard Owen’s passionate and appositely flexible rendition of Puccini’s popular ‘Nessun Dorma’ from Turandot was followed by a rendition of the adoring ‘Barcarolle’ from Les Contes d’Hoffmann by Offenbach in which Mr Pashley was treated to a passionate embrace by the affectionate soprano – an extraordinary climax to an unusual and most educational evening’s entertainment!
Toby Moschard
Published
21 November 2008
- Category
Music
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