According to the programme, Jonathan Dove’s opera Flight is “the most popular opera of the last eighty years”, a claim which is quite believable. It is set in an airport which many of us, particularly in Australia, can relate to, and it is entertaining in an accessible way, as well as being relevant to ongoing global concerns. It is also an actual opera, unlike many other contemporary works laying claim to that identification, not a play set to music or an example of music theatre. For one thing, it is sung through, with only the occasional word (“what!?”) or phrase spoken, and the action and emotions are all conveyed musically, not just textually, including a storm scene and planes taking off and landing. This is not to downplay the clever libretto by April de Angelis.
Flight is an ensemble piece for ten voices and each character is well delineated. The story is based on an actual case drawn from the news, concerning a paperless refugee stranded at Charles de Gaulle Airport, unable to leave the terminal or fly away. The other characters comprise an air traffic controller, an immigration officer and two cabin crew; the passengers include a bickering couple, a diplomatic and his wife, an “older woman” and a number of silent extras coming and going. The first two acts are relatively light-hearted, and often very funny, especially the antics of the lusty stewards. A nice touch is the women all bonding after the “older woman” seeks fashion advice. But the mood darkens considerably in Act 3 with the revelation of the fate of the refugee’s brother, but hope for the future is embodied in the birth of the diplomat and his wife’s daughter. You can quite see why she didn’t want to go to Minsk if delivery was this imminent!
The production comes to the State Opera of South Australian in Adelaide from Opera Holland Park in the UK (2015) via Scottish Opera (2018), with a most effective set. It was directed by Australian Stephen Barlow, now resident in the UK, with designer Andrew Riley. Mention should also be made of the excellent lighting effects, down to Richard Howell. At the back of the stage, a large semi-circular glass portal calling to mind an old fashioned hangar reflects external events such as an electric storm, pouring rain and the lights of planes arriving and departing. The Controller is located on a jutting walkway high above the stage, and when not at its front looking down on the passengers and, disdainfully, at the refugee, can be seen at a bank of screens in its further recess. Below her, is a passenger desk, lounge seats and at the back of the stage are doors leading to other rooms and lifts. There is also a flight information board, at which the passengers glance anxiously, a reflex to which anyone who flies regularly can relate.
The score is recognisably contemporary without excessively dissonant aspects, with occasional jazz inflections and a jolly dancing scene when the passengers celebrate the idea of going on holiday. It was very well played by the Adelaide Symphony Orchestra under the direction of English conductor Charlotte Corderoy, never once getting in the way of the singing.
The central role of the refugee was sung by English countertenor James Laing in a haunting performance, both musically and dramatically, spinning out high notes in long streams of sound. He was matched by the Australian-German soprano Anna Voshege as the Controller, delivering stratospheric high notes while projecting an initially icy persona, at the last minute finally recognising the humanity of the stranded refugee.
The bickering couple were entertainingly portrayed by Indigenous Queensland soprano Nina Korbe, projecting an attractive clear tone and persona, and Opera Australia regular, tenor Henry Choo. The “older woman” was sung by Adelaide favourite Cherie Boogaart in a sympathetic portrayal with fast, light vibrato. Perth mezzo-soprano Ashlyn Tymms and her rich creamy voice was well matched with resonant baritone Samuel Dale Johnson as the grounded cabin crew, and the diplomatic couple were an impressive Fiona McArdle (mezzo-soprano) and Jeremy Tatchell (New Zealand baritone). The small part of the immigration officer was performed by Teddy Tahu Rhodes using his height and considerable presence to scary effect. An excellent night at the opera, covering all the emotions.
