Making its first appearance at Longborough Opera in the festival’s twenty-year history, Beethoven’s single operatic venture was given a whacky and mostly insightful new spin. Any notions of a conventional 18th-century Spanish jail were swept aside in this radically off-the-wall but thought-provoking staging. Futuristic ideas, which might have come straight from Dr Who, were exploited to transform Jean-Nicolas Bouilly’s original French libretto and provided a platform for universal questions about how we treat prisoners – especially those detained illegally. Love, fidelity and heroism – the opera’s emotional driving force – were still at the heart of this work, but it became clear that this rescue opera morphed too readily into a revenge opera, a concept imposed with little concern for Beethoven’s music.
Spearheading this bizarre update was Orpha Phelan and Madeleine Boyd, who added an intriguing and unwarranted backstory to create the revenge motive. This arises from wounding and permanent disabling Don Pizarro, cast as jailor and shady drugs baron, by a morally upright Florestan whose arrest consigns him to the prison’s feared “B-wing”. White-coated sidekicks preparing illicit packages were a distracting presence during the Overture, its music barely registering despite fine playing from the Longborough Festival Opera Orchestra under its Israeli-French conductor Gad Kadosh.
Distractions continued during Act 1 where a generator with flashing lights (and seemingly belonging to some alien-themed B movie) stood centre-stage amid further chemical preparations, rendering the work’s domestic angle almost unrecognisable. Phelan’s narrative on imprisonment finally emerged in a moving prisoner’s chorus where individuals had been attached to fluorescent tubes, like umbilical chords, and sedated. Mercifully, Act 2 gave rise to a bare stage, where Florestan might as well have been wearing an invisibility cloak so little did we see of him, thanks to Lighting Designer Wayne Dowdeswell who took the darkness to light theme a little too literally.
Along with filmic designs, this production had a bang-up-to-date English dialogue. For some, contemporary phrases such as “it’s good to go” may have jarred with the German-sung text, but it was at least in keeping with the Director’s concepts.