Pygmalion

Lyric Opera love a challenge, and the more obscure the choice the better. This was the biggest one yet, but they triumphed magnificently.

Rameau’s Pygmalion is a one act opera in the form of an “acte de ballet”, which has large tracts of ballet, and a very light plot. The potential for boredom was immense, but in this production there was always something happening, and it was always interesting.

The dancers were all strong, with dramatic makeup and tight choreography. And they could all sing! Adding to the experience was the use of emoticons in the surtitles. Words were often repeated, so they were replaced by appropriate emoticons to convey the emotion.

Most of the heavy lifting was done by tenor Patrick MacDevit in the title role of the sculptor who falls in love with his statue. He rarely left the stage, and his strong voice and presence were a major asset. Kimberley Coleman had a short innings as his wife Cephise and made the most of it.

It was a master stroke to cast counter tenor, Josh Tomlinson, as the statue who comes to life. Though originally written for a soprano, this change made for a more other worldly feel about the relationship. His voice was beautiful.

Diminutive Sabrina Surace was L’Amour, who brings the statue to life, and it was very funny having her carried in on the shoulders of two dancers, covered by a voluminous dress, before descending and removing the garment. She also sang well.

The baroque orchestra played well under Pat Miller, and gave the production authenticity. Though this was a preview, there was no hesitation from any performers.

I hope the word gets out and Melbourne’s opera-loving public make the effort to catch this little masterpiece.

Graham Ford

Photographer: Kris Washusen