O17, Opera Philadelphia’s Fall Festival, was launched last night in the stylish and acoustically-warm Perelman Theater at the Kimmel Center. Over the course of its twelve days, the city will stage 31 performances across a variety of venues. Does opera have a future? Can opera reach new non-traditional audiences? Can new works inspire the cult loyalty that the old classics so effortlessly possess? The Fall Festival is Philadelphia’s answer to those questions, and the overall tone, evident in the General Director, David Devan’s excitable gala-night speech, was that it was doing just that.
Tonight was a Philadelphia première, in the staging of a twisted Victorian penny-dreadful, Elizabeth Cree, based on Peter Acroyd’s novel of the same name. It was engaging as a breathtakingly tabloid piece, and thought-provoking too, inviting a reflection upon the connections between the first era obsessed with media sensationalism and our own, even more saturated in its addiction to News.
Daniela Mack was a dazzlingly vibrant Elizabeth, her angry mezzo-soprano coloratura indicating her character’s imbalance from the first. Her voice dominated the theatre with ease, just as her persona dominated the action, inveigling her way into the musical hall, into ‘respectable’ marriage complete with trailing purple bustle, into murder. Her end was truly maniacal. Who is Elizabeth anyway? For that we had to wait till the end. Meanwhile, Troy Cook was the seemingly respectable Victorian gentleman John Cree who was the diary-writing psychopath behind the Limehouse butchery. His rich baritone chillingly sung his victims – projected on screen behind in shadowy forms – to death. The most ghastly, that of the children, was left (thankfully) unsung.
Tenor Joseph Gaines, as the music-hall comic Dan Leno, was every inch his camped-up real life inspiration, from his Cockney maid persona with braids jutting out from the side of his head to his po-faced corralling of the troupe, when conversation became vulgar, into morally ‘higher ground’ (a refrain so funny in its mealy-mouthed respectability, as to give rise to a loud chuckle each time it came around). Leno got to present to the audience what message they were meant to take home, a message which basically went something like this: Life is often crazy and evil, but there’s always a laugh to be had, and anyway, everything can be re-run on stage for the benefit of the audience, so ‘here we go again’.