Orphée / Iphigénie

As one of the few amateur opera companies in Melbourne, BK Opera is also one of the busiest, their latest offering being less than two months after the previous one.

This was a more traditional offering than usual, including cut down versions of two operas by the baroque composer Christoph Willibald Gluck, Orphée et Eurydice and Iphigénie en Tauride. In this case the only updating was to have Orphée, a castrato role usually played by a mezzo, played as a woman being Eurydice’s lover in the former, and Oreste, Iphigenie’s brother, being the lover, instead of friend, of Pylade in the latter. 

This was very well done. The costumes were innovative and very effective, particularly those of the small chorus. The set was simple and stark, with white plastic on the wall and floor, and one raised platform.

In Orphée et Eurydice mezzo Alison Lemoh was a warm Orphée and sang a heartfelt “J’ai Perdu” (more popularly known in the Italian as “Che Faro”) when Eurydice dies. Rada Tochalna was stunning as Amor, with a beautiful feathered top and bright soprano. Louise Keast was probably more suited to Wagner than the baroque, but was an impressive Eurydice. The chorus made a strong impact.

The singing was more uneven in Iphigénie en Tauride, but the find of the night was Finn Gilheany, who seems to have completed the transition from baritone to tenor most successfully. His voice was thrilling and I look forward to his future development. Andrew Alesi also showed he is developing well, though he struggled at the top. Erin Towns in the title role was on stage for most of the opera and sustained her character well. The small female chorus sang beautifully.

Pam Christie did sterling work on the piano and James Penn kept a firm hand on the music.

This was a most entertaining evening and a chance to hear music rarely performed.

Graham Ford

Image: Burke Photography