This summer sees a significant exchange between Scottish Opera and D’Oyly Carte Opera, marking a decade since conductor Stuart Stratford embarked on a successful tenure as music director with the Scottish company. The collaboration showcases a vibrant double bill that reflects both classic and contemporary opera. Among the highlights is a 150th anniversary revival of Gilbert and Sullivan’s “Trial by Jury,” paired with the premiere of “A Matter of Misconduct!”—a contemporary political satire, both presented at Theatre Royal Glasgow.
Directed by John Savournin, “Trial by Jury” undergoes a lively transformation, set in a TV studio rather than a courtroom, creating an engaging blend of humour and tradition that appeals to modern audiences. The production is characterised as more reminiscent of a Jerry Springer show than a conventional courtroom drama. Leading the cast is Richard Suart, who brings charm and wit to the role of The Learned Judge, while soprano Kira Kaplan shines as the jilted bride, Angelina. Jamie MacDougall's camp portrayal of the Defendant, Edwin, offers a delightful contrast, contributing to the overall levity of the performance. The jurors, creatively costumed, reflect a diverse ensemble that adds both visual and thematic richness to the production.
In the orchestral pit, conductor Toby Hession's interpretation of Sullivan’s musical score provides a spirited accompaniment to the action on stage. Hession’s dual role as composer of the second piece in the double bill infuses fresh creativity into the programme, which draws on the musical legacies of composers like Sondheim and John Adams. This new operetta is set within the press room of No 9 Downing Street, cleverly interweaving political commentary with operatic traditions.
“A Matter of Misconduct!” features a cast that includes baritone Ross Cumming as the ambitious politician Roger Penistone and mezzo-soprano Chloe Harris as Cherry, his wife with aspirations of becoming a wellness guru. The piece is noted for its sharp satire, teasing contemporary political figures in Westminster and Holyrood with a series of clever quips. Among these, the work finds space for both comedic brilliance and virtuosic singing, particularly from Kaplan as lawyer Sylvia Lawless, who dazzles with stunning coloratura.
The double bill not only entertains but serves as an invitation for introspection about modern politics, expertly balancing humour and critique. Audiences are treated to a rich tapestry of musical styles and thematic exploration that is both relevant and engaging. This double bill encapsulates the spirit of innovation while paying homage to the operatic traditions that have long captivated audiences.
Besides the performances that run from May 14 to 16, the production also includes initiatives aimed at enhancing audience engagement, such as free pre-show talks and touch tours for patrons with visual impairments. These efforts underscore Scottish Opera’s commitment to inclusivity and making operatic art accessible to a broader audience.
The collaboration between Scottish Opera and D’Oyly Carte marks an exciting chapter in the artistic journey of both companies, blending heritage with contemporary relevance. The performances resonate not just for their musicality but also for their commentary on social issues, making this double bill a noteworthy cultural event in Glasgow’s vibrant arts scene.
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Source: Noah Wire Services