Longborough Festival Opera’s intimate theatre should be ideal for Monteverdi’s L'Orfeo, first given in a room in the palace at Mantua (not in its theatre). And so it proved for much of the time in Olivia Fuchs’ new production.
The setting is spare. Nate Gibson’s costumes are contemporary casual, and his set is a ramp that swings around a central platform, just above stage level. The platform is surmounted by a large metal hoop, tall enough to act as an entrance or frame to pose under. The four corners of the stage each have a curved metal stanchion, so a lit globe can be suspended from each at the outset.
This space becomes verdant for the joyous opening scene of nuptial preparation, the metal fixings draped in greenery, the simple costumes receiving additions from an onstage dressing-up box, a playful touch for the cavorting celebrants. The setting is regrettably abandoned though for the posthumous appearance of Eurydice. A white sheet forms a new back wall, with medics in white gowns, and the snake-bitten corpse of our heroine is wheeled on, stretched out on a hospital trolley, with drip and monitoring screen. Cue the first of Orpheus’ various lamentations, while a sympathetic medic offers him a seat and a glass of water. Soon after in Act 3, this trolley/bier serves as Charon’s ferry to the underworld.
Despite the mildly risible aspects to all this, Part 2 (Acts 4 and 5), are well staged, a sepulchral scene where black-draped wraiths crawl around Pluto and Proserpina in more formal black attire. Whether crawling, or dancing and singing, the cast is kept active by Fuchs’ apt direction, except perhaps for a few disco moves when Orpheus becomes a reluctant rock star.
The operatic Orpheus, whether in Monteverdi, Gluck or Birtwistle, has the toughest brief: “just be the most charismatic, irresistibly sweet-toned singer the world has ever heard.” Peter Gijsbertsen’s Orfeo could hardly live up to that but deployed his vocal and histrionic skills well. His tenor is rather baritonal, which suits the tessitura of this role, and he was the most persuasive of any of the singers in his handling of Monteverdi’s intensely expressive melisma. His confrontation with Freddie Tong’s imposing Charon, despite being across that hospital trolley, and having not just to sing the ferryman to sleep but to sedate him, was nonetheless effectively brought off. His closing duet with Apollo, who tells him he overdid both the rejoicing and the lamenting, but still takes him up to heaven, was also very fine, Seumas Begg’s bright tenor contrasting well with Gijsbertsen’s darker sonority.