A chilling masterpiece
Matthew d'Ancona 10:57am
Sometimes music speaks not only to your mind and heart, but grabs at your very viscera in the most primal way imaginable. Such was the experience of last night's world premiere of Harrison Birtwistle's The Minotaur at the Royal Opera.
Demanding and disturbing, the overture, played against the backdrop of dark and menacing waves, warned us of darkness to come. This was no idle threat, either. Rape, massacre and the consumption of the Minotaur's half-dead sacrificial victims, the Innocents, by the greedy Keres, vulture-like harpies: all were to follow.
The mission of Theseus to enter the Cretan labyrinth, slay the beast and whisk Ariadne back to Athens provides the opera with its narrative framework. Christine Rice's Ariadne was especially compelling: a study in both manipulation and terror.
But the night belonged to John Tomlinson, wearing a costume that closely resembled a cage and therefore deftly symbolised the pathos of the beast's captivity as well as his savagery. By his very posture, as much as his animal wailing, Tomlinson conveyed both implacable ferocity and weary victimhood: the freak-show of terrestrial life staged for the amusement of the gods. And this was emphatically his story: ending with his death, rather than the escape of Theseus from the labyrinth using Ariadne's thread.
As the cast enjoyed their rapturous ovation, I noticed that Antonio Pappano's conductor's hands had been besmirched with stage-blood from clasping Tomlinson's hands for the bow. It was an apt metaphor for the seepage of mythic horror, red in tooth and claw, into the auditorium itself. Do not miss this chilling masterpiece.
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Comments
Owld Grumbleton
April 16th, 2008 12:21pmIs Tomlinson's portrayal drawing upon that other tragic creature of waning power and weariness, "The Prime Minister"?
Frank Pulley
April 16th, 2008 12:31pmI'm pleased we are able to help finance such luxuries and transports of intellectual and visceral delight for you Matthew; Diet Coke during the interval was it?
John Ware
April 16th, 2008 12:45pm"grabs at your very viscera in the most primal way imaginable"
sounds nasty!
Tim Hedges
April 16th, 2008 1:37pmDon't tell me this is another Arts Council (taxpayer) funded jolly. Haven't seen this but most of Birtwhistle's stuff is utter crap.
The Speccie should have a policy of only commenting on opera not funded by poor people who will never get to see it.
salieri
April 16th, 2008 3:57pmCome off it, TH. I suppose the Speccie should not comment on the NHS, then?
john problem
April 16th, 2008 5:16pmWell, of course I haven't seen it - I'd have to stop eating for a week. But I am mollified by that splendid description of opera as 'pantomime for adults.' However, this work sounds like a nasty video game. But it's probably better fare than the music which accompanies one's every moment in shops, pubs, cafes, and any other space where a loudspeaker can be hung. Has anybody noticed the howling teenage music that is played in charity shops - where 80% of shoppers are over 60? And nobody plays 'The Four Seasons' while you're waiting to be answered on the phone, any more. Perhaps Birtwhistle could step forward for that?
George Tinsley
April 16th, 2008 7:50pmMy ticket cost me £20, and I enjoyed last night's performance very much, thank you. I wonder how much it would cost to go and see a live performance of popular "howling teenage music"? I would imagine that if more people were educated to enjoy opera, the art form would become more accessible for all.
Fergus Pickering
April 17th, 2008 7:35amI like opera and I don't mind Government funding going there. Bit of culture, wghat? Having said that, unless Birtwhistle has suddenly discovered melody I wouldn't go to this particular offering. Nice bit of Verdi now....
Manuela Kleeman
April 19th, 2008 9:09pmI was at the Minotaur premiere (not accompanied by reluctant husband) and had an exhilarating evening. The music is challenging and does demand your full attention. The production and the cast were wonderful and I particularly liked the chorus - very Greek.