La Vida Breve and Gianni Schicchi

La Vida Breveand Gianni Schicchi were presented as a double bill in a concert performance. The first, by Manuel de Falla, has the passion and tragedy of love when it is mixed with class conflict. The second has the wit and comedy of classic Commedia dell’Arte heightened by a Puccini soundtrack. La Vida Breve was a mixed experience whereas Gianni Schicchi was a thoroughly engaging and wonderful romp.

La Vida Breve, set in Granada in the Albaicin, which is bordered by the caves in which the Gypsies live, is a tale of an ill-fated love between Salud the Gypsy woman (Gisele Blanchard) and Paco (Brenton Spiteri), a wealthy man for whom his brother Manuel (Jeremy Tatchell) is arranging a marriage of convenience. It’s a classic story line which we know from the start is not going to end well.

The stand out performers for me in La Vida Breva were Elizabeth Campbell as La Abuela, Pelham Andrews as Tio Sarvaor and Beau Sandford as the Voice of the Forge. Spiteri was a little underwhelming and didn’t quite match Blanchard’s power. The shock was Turner, as Cantaor, who didn’t really fulfil the demands of the role. The State Opera Chorus gave a strong performance as usual and it was good to see some of its members such as Norbert Hohl getting the chance to demonstrate what a promising performer he is.

The Adelaide Symphony Orchestra provided some of the most enjoyable parts of La Vida Breve, particularly in Act 2. Flamenco dancers Tomas Arroquero, Areti Boyaci and Hayley Kollevris provided colour, energy and excitement and a fabulous display of shawl twirling. The direction by Nicholas Cannon was more concert orientated than dramatic.

It was in Gianni Schicchi, under the direction of Douglas McNicol, that the performers and the audience seemed to wake up. Walking into the auditorium to take my seat I was slightly bemused, or was it amused, by the behaviour of a couple of people in front of me. My bewilderment turned quickly to understanding as Joshua Rowe, Simone and Campbell went up onto the stage and began developing their characters and the story line even before the music had begun.

Gianni Schicchi is a classic commedia scenario. The rich miser is dying and the greedy relatives have gathered to make sure he dies so they can get their hands on the will. And yes, they do find the will and their worst fears are realised.  The Miser has left all his money to the Monks! Despair breaks out. What are they to do? So they call in Gianni Schicchi (Douglas McNicol,) the father of Lauretta (Desiree Frahn), who is in love with Rinuccio (Spiteri). The two lovers’ forthcoming marriage is now threatened by the lack of inheritance and therefore dowry. Schicchi is the clever one who comes up with a plan as to how to rewrite the will for everyone’s benefit, including his own. The Monks don’t do so well in this will!

McNicol’s direction and performance had a real zing to it. Who would think that one of those really annoying finger spinners could have a starring role in a Puccini opera? The actors used all areas of the stage. McNicol came up with a very smart way to showcase the show’s well-known aria ‘O mio babbino caro’, directing Lauretta to climb up on the table, from whence she sings to her father, making it very clear that if he loves her he will fix this situation for her. And because he is a doting father, he does.

Gianni Schicchiwas an excellent piece of ensemble acting and the characterisation was believable and very funny. The audience were soon laughing and appreciating the skill of the performers for both their acting and their singing skills. The standout performances were harder to pick because all the singers’ energy had seemingly re-ignited. Campbell is always good and Zita really demonstrated her acting skills. McNicol brought energy and that charm that comes from knowing that he is the going to be the real winner. Spiteri hit his best notes of the evening, particularly from the back of the orchestra as he was looking out over what had become his estate.

Once again the ASO showed their skill and under baton of Castles-Onion they made good use of the score to emphasise and punctuate the characterisation and story. In Gianna Schicchi my attention was 100% on the singers, whereas in La Vida Breve my attention frequently drifted from the front of the stage to the orchestra. I enjoyed my evening at the opera and having the opportunity to get to see two new operas.

Sally Putnam

Images: Ensemble from La Vida Breve; Gisele Blanchard as Salud in La Vida Breve; Gianni Schicchi. Photographer: Bernard Hull