This review should appear at Opera Britannia in due course.
Star Date: 12 August 2013
Festival Theatre, Edinburgh
Rating: 
There are many areas of human endeavour where we must applaud glorious failure. Better, surely, that risks are taken than that we make do forever with the urbane and the familiar. The trouble is, when it comes to space travel, risks that don’t come off tend to result in crashes of spectacular intensity. Such is the case with Gary Hill’s interpretation of Fidelio, which for some reason never entirely explained, he chose to set in space.
This was a production with a lot of “concept” going on. It may be some time before we get to the singing but in a sense, that is true to the experience. One was never entirely convinced that the singing was the point of it.
Not only were we to be experiencing Fidelio on a spacecraft, but it was a spacecraft that was first known to humankind through its appearance in a Swedish science fiction poem that was published in the 1950s by Harry Martinson. Thus, we were on the good ship Aniara which somehow had found itself going off-course from its mission to colonise Mars. That it wasn’t the only thing that was going off-course was to become something of a theme of the evening.
It must have been such a wheeze deciding that the principle characters would mostly get around the spacecraft on Segway machines. There is certain dramatic ballet to be had by such machines gliding around. The trouble is, one controls a Segway by shifting one’s balance. It is a delicate operation. That one can persuade opera singers to perform on them is in itself worthy of note. However, directors who consider this course of action in future might be well to observe that if the singers are standing stock still with their hands by their sides in order to prevent themselves whizzing off into the wings, then it is a fair bet that their acting abilities are somewhat curtailed.
It was not always clear why some of the cast appeared on Segways at some points and walked on their legs at others. At one point Fidelio zoomed off-stage into the wings from which one could hear a decisive thud and came back on foot for the rest of the opera. Whether this was an accident or an expression of a new and previously undiscovered level of existential angst in the mind of the director was never clear.
Particular mention should be made of Don Pizzaro’s costume which made one wonder whether the cosmos had somehow conspired to mate the Mikado with a passing armadillo. It should come in handy if Opera de Lyon ever decide to stage the Savoy operas in a lunar safari park. Having seen this production, we must not rule out the possibility. The other costumes by Paulina Wallenberg-Olsson might have some second-hand value if Blake’s 7 is ever re-commissioned.
Then there was the video. Digital projection was not merely a feature of this production so much as its whole raison d’etre. Digital images were projected onto the rear of the stage throughout. Meanwhile, a gauze curtain was hung in front of the action during the whole opera and further digital images were projected onto this. Sometimes they related to the action. Sometimes they didn’t. What they did do was move constantly. Lines, polygons, imagined space-worlds all appeared before our eyes and jiggled and danced before us. It was as though someone was trying to demonstrate what was happening inside the head of someone with attention deficit disorder who was enduring a migraine whilst watching Star Trek. The poor cast, whizzing about on their Segways behind this curtain of dizziness could thus not be seen entirely clearly nor in all cases heard.
And so we come, at last, to thinking about the singing and in this respect it was an opera of two halves. The first half saw some spirited singing by Erika Sunnegårdh as Fidelio/Leonore whilst the second was somewhat energised by Nikolai Schukoff’s Florestan. His cry of injustice from within his prison cell was powerful and heartfelt and suddenly drew one’s attention away from all the digital action that was crowding one’s vision at the time. His voice had enough emotional intensity to focus the mind for a moment on what all this was supposed to be about – a political prisoner incarcerated because he had stood up to a tyrant.
Pavlo Hunka as Don Pizarro, the villain of the piece may well have had a good voice but struggled even more than the others to reach beyond the curtain that hung between him and the audience. Michael Eder produced a little more clarity as Rocco and provided a very solid underpinning to the quartet Mir ist so wunderbar which was a rare moment of tranquillity and a thing of touching beauty. Valentina Naforniţa’s Marzelline and Christian Baumgärtel’s Jacquino completed that foursome but always sounded better in the tutti pieces than they did on their own.
There was dialogue for them all to negotiate too. New bits of German dialogue which had been written presumably to fit within the concept or which had perhaps been drawn from Harry Martinson’s poem. Either way, it was all rather forgettable, something which the cast seemed intent on demonstrating once or twice by apparently forgetting their lines.
That gauze screen in front of the action was a wretched decision and made it seem as though the action was all taking place within the context not of a theatre but of a conceptual art gallery.
Full marks to the chorus and the orchestra though. They produced some stunning sounds and each at one point or another acted as the booster rockets for a flagging evening. By some distance, the most exciting musical offering of the whole night came from a powerful chorus singing from the back of the stage and mostly invisible.
This was clearly a production which divided its audience. There was laud and raucous booing at the end but mixed in with cries of bravi from some. Perhaps the greatest failing was in billing it as an opera. Had we been encouraged to see it as an art event during which the participants would happen to try to sing Fidelio then we might have been on firmer ground. In billing it as an opera, the Edinburgh International Festival encouraged us to believe that it was in some way an interpretation of that work when in fact it was not.
It is good that there are opportunities for directors to do this kind of thing. It is important that someone reaches for the stars. However, this particular production showed what happens when the risks don’t come off. It was, from time to time, spectacular. The concept itself though was doomed from take off.
Rating:
37 responses to “Keeping the faith”
It was an inspiring recitation. Following the English translation in the service sheet provided added insight to the life of Mary. All the more so as the cathedral is dedicated to St Mary. You are reminded of Mary every time you walk into the building with the Gwyneth Leech mural over the High Altar.
Kelvin is quite right. The very self-righteous defenders of the Bible (including the ones who trolled a brave young Muslim woman, for days, with the most vile language, and those who did not reprimand them) totally ignored the Biblical instructions for raising concerns with a brother in faith (Matthew 18:15; 2 Tim 23). Very practical instruction too! As anyone who has ever lived in community can verify. Could all these obsessive men *please* stop trying to divide our communities in Glasgow. We will not be divided. At the first sign of trouble we rush out to embrace one another. These abusers have much to repent of, even if *just* standing by while others throw stones.
I HATE it when the wrong tune is picked for a hymn … it is simply an abomination before God.
However, helping people to think about how we share hospitality, welcome and learn from each other is the WAY of God! Blessings on you Kelvin.
Some reasons why this time was different:
1. The other quaran recitations you mentioned happened at Nine Lessons and Carols, or special ecuminical and interfaith events. While 9L&C was originally a modified Evensong, nowadays it’s usually considered a seasonal community musical recitial with a religious tinge, so having a Muslim from the community recite something from their faith would seem natural enough. Civic and interfaith services will likewise naturally include representatives of every faith in the community. By contrast the Eucharist is the central act of Christian worship and people expect to hear ONLY Christian doctrine proclaimed in the Holy Eucharist. In other words, this was the wrong venue for showing hospitality to Muslim neighbors. You did not intend to practice syncretism, but I think the outcome was syncretic despite your good intentions.
2. Post Brexit (and post Trump) British Muslims are now seen as alien invaders rather than fellow members of the community.
3. Because hostility to Muslims is now fashionable, the Express and rest of the gutter press decided that this was a story worth reporting. Since conservative Americans often read the online editions of the British gutter press, the story then went global.
4. Because you are gay and out, your every action is scrutinized for any possible hint of heresy by GAFCON and Co.
Of all these reasons, only reason #1 is a legitimate criticism, but I hope you do think about criticism #1 as well as defending yourself from other, illegitimate criticisms.
Thank you for your comment Whit J – all the more because it is a thoughtful criticism.
I’ve plenty to reflect on about the how and the when we do things like that and I do hear loudly and clearly that many people think this was an inappropriate context. Though of course, I’d be bound to say that some are saying that the Eucharist is precisely the place indeed there are some saying that is what it is for.
I’m not going to get into a back and forth with all the comments on this post and I’m deliberately not letting through things that have already been said but be assured that I’ve heard the criticism and will reflect on it not simply now but over coming months. (I’ve learned a lot about where God is this week that will take a long time to process). I’m grateful for the way you’ve made your point.
I think there is a good deal in what Whit J says, although I am not sure the effect actually was syncretic. I think one does perhaps have to be a regular worshipper at St Mary’s to understand how totally orthodox the worship there is, and how much Jesus is the focus of worship – how utterly unlikely it is that anyone there would make the mistake of thinking he was not revered by the congregation as a whole as very God from very God. It would be impossible for them not to realise that all the clergy there rejoice in this belief. The congregation saw the words of the Qu’ran in an English translation which portrayed that book’s far-from-easy-to-follow account of Islam’s view of the conception of Jesus, in which there was nothing offensive, and heard a very beautiful voice singing in a strange and glorious language. These were clearly indicated to be the beliefs of another faith. We certainly neither saw or heard or understood any insult to the person of Christ. I am sure none was intended, either. Whereas, and this bears repeating, I am totally sure that many of those commenting (not of course by any means all of them, and nobody whose comments are published here) simply wish harm to relationships between the great faiths in Glasgow.
I have spent my whole adult life in dialogue with people of other religious traditions, it has been deeply rewarding. However I feel that what happened at this service was profoundly wrong. When we are truly ourselves we allow other people to be profoundly themselves. The truth of Christianity is not compatible with any other religion. To avoid that incompatibility is to avoid reality. Worship of Jesus is the fountain of our faith the Qu’ran is opposed to that. I love Jesus and therefore cannot conceive of reading the Qu’ran in an act of worship – no problem doing so in other contexts but not in worship. I am profoundly disturbed that you cannot see this Kelvin.
There are so many things aren’t there, not just around this issue which we hold dear in faith and which we can’t see from another perspective?
I can hear and see that people are upset by this and clearly there are many people not upset by it too. And obviously, at least I hope obviously, I love Jesus too.
The trouble with religious questions and the questions that religious people have I think is that so often that our love for our faith can make it impossible to comprehend others who also claim to love the same faith but who take different views about things. We can hear them claim that love but be intellectually unable to process it because it leads them to different conclusions.
I’ve found the same thing to be true in the sexuality debates very frequently though I perceive that to be changing sometimes now. Similarly with other identity issues and some political issues. Israel/Palestine conversations for example often seem to be conducted (when they are conducted at all) by people who seem to behave like ships passing in the night.
I happen to have views about Church Schools which are pretty intransigent and negative. You are one of the few people, no the only person, who ever made me really think there might be a point of view about them other than mine which might have an integrity I could respect. And I’m very grateful for that.
Kelvin, thank you for your reply. I have enormous respect for you. I have no doubt that church schools can be argued against from perfectly respectable positions. Worship of Jesus is simply a different order, it cannot include a reading from the Qu’ran. Worship is one thing, study, dialogue, relationship something else.
I am really grateful to Richard for the phrase “When we are truly ourselves we allow other people to be profoundly themselves” which reflects my experience of interfacing with sincere people of other faiths. Is a Christian Eucharist a place this should happen? I can understand some Christians feeling it is not, but as long as everything was clearly labelled as what it was and the integrity of the liturgy was intact, I can also understand some feeling it is.
Brother Kelvin,
Although I do not agree with allowing the Koran to be read in our Christian churches, I truly appreciated your firm and resolute stand for the deity of Jesus. He is our great God and Savior and I love Him very much. Blessings from Tennessee.
Just as a perhaps amusing point of reference, the 1982 hymnal of the Episcopal church in the USA has “Brightest and best of the STARS” (caps mine) “of the morning,” apparently so as to avoid offending any daughters who might be present, and the two tunes included are “Morning Star” by James Proctor Harding (1850-1911) and “Star in the East” from The Southern Harmony (1835). The Harding tune was also in the 1940 Hymnal, wherein the word “sons” was still used.
I am not clear as to whether the hospitality at St Mary’s anticipates infinite extension of parallel lines between Islam and the Church in Glasgow. Are you planning some opportunities for Glasgow Muslims to understand the Christian faith and prepare for Baptism and the glorious liberty of regeneration by the Holy Spirit? (In whichever order; no axe about that!) As you move around the Glasgow community and meet more Christians of Islamic background, why not invite such to participate in groups for new Muslim enquirers? The testimony of an ex-Muslim can express vibrantly “How I know He lives” (as your SA brethren would sing). You might find not only new hearts from a divine work of grace among your Muslim neighbours but in other neighbours too. Amen. Inshallah!
There are a small number of people in St Mary’s who are converts from Islam to Christianity just as there are a small number of people in local mosques who are converts from Christianity to Islam.
St Mary’s regularly puts on events and courses for people discovering and exploring Christianity. Most living religions do the same thing.