'Beyond the Garden' in the Czech Republic. Excellent review from Czech Republic's leading classical music magazine. “An extraordinary experience’”.
Two excellent performances of Beyond the Garden in a Czech Republic mini-tour 14-16th December
Susan Bickley as Ottilia in ‘Beyond the Garden’ in Olomouc
In the splendid baroque Corpus Christie Chapel in Olomouc, ‘Beyond the Garden’ received a very warm reception as part of the Schrattenbach Opera Festival. Earlier in the week the Czech premiere took place at the Janáček Academy in Brno. Below, Stephen McNeff, Susan Bickley and Katja Konvalinka stand in front of the bust of Leoš Janáček. Opera+ - the leading Czech Classical Music Magazine wrote: An extraordinary experience was also brought on the evening of Wednesday, December 15, 2021, when a chamber "ghost opera" called Beyond the Garden, by the Irish composer now working in London, Stephen McNeff, was presented in the Chapel of the Corpus Christi UC UP. It continues: McNeff works with coloured areas, using only hints of melodies and rhythmically regular sections (especially if the current plot of the opera requires it), which are almost immediately defragmented. It is highly complex music, constantly changing, sometimes uneasily irritating, but it does not lack a strong dramatic effect. Thanks to very economical, but interestingly designed instrumentation, the colour of individual instruments or their various combinations can stand out. (Full review below.)
Stephen McNeff, Susan Bickley and Katja Konvalinka at the Janáček Academy in Brno
The Schrattenbach Opera Festival returned to Olomouc after a forced break.
Beyond the Garden
GABRIELA COUFALOVÁ, GABRIELA VŠETIČKOVÁ, 20.23021
An extraordinary experience was also brought on the evening of Wednesday, December 15, 2021, when a chamber "ghost opera" called Beyond the Garden, by the Irish composer now working in London, Stephen McNeff, was presented in the Chapel of the Corpus Christi UC UP. The opera was co-produced by the concept group Concept operapovera, the Slovenian Chamber Music Theater and the Cankar House in Ljubljana, where it was also premiered in 2020.
The opera, with a libretto by the Irish poet and writer Aoife Mannix, is divided into a prologue and seven scenes that move unconventionally against the flow of time…
Although not obvious at first glance, the protagonist of the central heroine named Ottilia is Alma Mahler - a "femme fatale" at the end of her life, who is confronted with her memories, which are not always what she herself would like. Hence is also the subtitle of the opera When the Past Is Not What You Want to Remember… The mirror is set by her deceased daughter Manon Gropius (the character of Klara in the opera) pleasant reality of her tumultuous life. On the one hand, we feel a constant tension between the two women, but on the other hand we also feel a deep-rooted close relationship. However, the theme of the work - unfulfilled interpersonal relationships and loneliness - is completely universal and would stand up on its own, even if we were not familiar with the real inspiration of the opera (ie the character of Alma Mahler).
The overall impression from the performance is more than favourable. This is one of the reasons why the large audience rewarded the composer with a well-deserved long-lasting applause.
The opera, a libretto by the Irish poet and writer Aoife Mannix, is divided into a prologue and seven scenes that move unconventionally against the flow of time, from 1964 until 1935, when Manon Gropius died of polio. The scenes follow each other quite smoothly, which made it somewhat difficult to find your way around the story. The listener therefore clearly appreciated the Czech subtitles projected on the chapel wall.
The musical grasp of the work represents a significant artistic challenge for all performers and requires an absolutely concentrated performance. It is a musical experience for open and unbiased listeners. McNeff works with coloured areas, using only hints of melodies and rhythmically regular sections (especially if the current plot of the opera requires it), which are almost immediately defragmented. It is highly complex music, constantly changing, sometimes uneasily irritating, but it does not lack a strong dramatic effect. Thanks to very economical, but interestingly designed instrumentation, the colour of individual instruments or their various combinations can stand out. The chamber orchestra under Iztoka Kocen played violin (Majca Batič), clarinets (Andrej Zupan), double bass (Miha Firšt), harp (Urška Rihtaršič) and percussion (Petra Vidmar). All the musicians presented themselves in great shape, they played absolutely precisely and without a single hesitation. And it must be emphasized that the technical skills of the players were really used to the maximum.
The overall impression from the performance is more than favourable. This is one of the reasons why the large audience rewarded the composer with a well-deserved long-lasting applause
The composer places the same high demands on the representatives of singing roles. Ottilia was portrayed by the experienced British mezzo-soprano Susan Bickley. Her beautiful velvet-coloured voice, heard in all positions, was able to completely fill the space of the baroque chapel. The younger Klara was embodied by Slovenian soprano Katja Konvalinka. Her light and malleable soprano was an excellent fit for this role, even in dramatically tense games. Both singers must be praised for the admirable intonation confidence with which they undertook demanding vocal parts. They seemed completely natural, their interplay was exceptional, both voices were balanced - together they stood out especially in several confrontationally tense duets.
Ottilia was portrayed by the experienced British mezzo-soprano Susan Bickley. Her beautiful velvet-coloured voice, heard in all positions, was able to completely fill the space of the baroque chapel.
Slovenian director Rocc (known to the audience for his work in the Czech Republic) completely adapted the production to the Olomouc Chapel of the Corpus Christi and approached it in the most economical way. A table, two chairs, a glass with an alcoholic beverage, sunglasses… The most prominent prop thus became the head of the mannequin representing the donated doll and the very space in which the two representatives moved. Belinda Radulović's costumes only underlined this simplicity - the dominant Ottilia in a flared, luxurious-looking brocade beige coat and lace cap, Klara in a simply cut, close-fitting overall in pure white. The clothes can be seen as symbols of a rich life versus the death of a ruined future, or a metaphor of a rich fantasy and free access to memory versus reality and modest reality.
Klara was embodied by Slovenian soprano Katja Konvalinka. Her light and malleable soprano was an excellent fit for this role, even in dramatically tense games.
Watch the trailer from the Ljubljana premiere on Youtube here
Next Performance in Prague on 29th January and part of the Prague Opera Festival. Watch for details soon.