The Tender Land

Opera is usually associated with big voices singing in big venues. With The Tender Land, Lyric Opera put up a strong case for the opposite approach.

In this intimate venue beautiful pianissimo singing was the order of the day, and didn’t the audience love it. The small orchestra at the side was lovingly controlled by Pat Miller and so voices didn’t have to fight to be heard. It meant that no voice dominated the ensembles, and it was a real ensemble opera.

It was an interesting take on the production to have the two “outsiders” played by Asian singers, Henry Choo and Raphael Wong as Martin and Tom. It meant they certainly had a different look from the rest of the cast and added another dimension to the suspicion expressed by the others. Both had excellent voices and blended superbly. Clearly the most experienced singer in the cast after many lead roles with Opera Australia, Henry fitted beautifully into the ensemble.

Emily Uhlrich played the romantic Laurie who falls in love with Martin. Obviously from a protective family, she captured the naivety of the character and her pianissimo top notes were heavenly. There was real chemistry between her and Henry. Daniela Leska was delightful as the younger sister.

As the mother Caroline Vercoe added another memorable role to a growing list she has with Lyric Opera. Her rich, warm voice was just right for the part and she moved from a happy mother playing with her children, to a concerned anxious one as her older daughter contemplated leaving the family fold.

It was disconcerting to have Tiriki Onus, as the grandfather, a decade or so younger than his daughter, but his imposing presence and voice were an asset, though a real bass (how many are there?) would have felt more comfortable in this role.

The simple set, comprised a lean-to verandah and fence was effective, and was enhanced by the lighting. The direction was excellent, with all characters having meaningful movement. A great night at the theatre.

Graham Ford

Images: Sarah Walker Photography.