Just what the doctor ordered

Kennet Opera: The Elixir of Love, at The Corn Exchange, from Tuesday, November 11 to Saturday, November 15

For its 10th anniversary production, Kennet Opera took Donizetti's comic opera L'Elislr d'Amore (sung in English), and moved the action to the oh-so-fashionable 1950s. Thus, Adina owns the village café (not a farm), lovesick Nemorino is a waiter, and there are plenty of excuses for pedal pushers, loafers and swirly skirts.

For an amateur company to stage opera is daunting; top notes are unforgiving even for professionals. Of the principals, tenor Mark van Ments as Nemorino was the only singer brought in from outside the ranks of Kennet Opera; an early roughness to the voice smoothed out as he sang himself into the role. Soprano Gaylene Parish always turns in a classy performance; as Adina she was smart and sparky, though showing the occasional weakness in the top register. It was good to see John Milford of Swindon Opera again, his rich baritone and confident stage manner an asset as Sgt. Belcore. Their trio at the end of act 1, and the duet between Dulcamara and Adina at the beginning of act 2, were highlights.

Bass Stephen Bennett as the swaggering 'quack' Dr Dulcamara, relished his part. Clad in black leather, he arrived, entirely fittingly, on a Vespa. Soprano Fred Garner (Giannetta) spelled youth, energy and life for the taking. As Dulcamara's gum-chewing, bottle-blonde moll, Mary Swait gave a peach of a performance. In skin-tight trousers and scarlet high heels, their stash concealed in her cleavage, she was sexy, knowing and bored rigid by her partner in crime.

One of the very best things about Kennet Opera is that these are real ensemble productions. The spotlight is on the principals, but the chorus is an integral part of every production, never a mere add-on. They sang strongly and acted well, with plenty of 'business' and movement. Each member, including the children, inhabited a recognisable character; they were never static onlookers.

A cleverly-designed set featured red and white gingham-covered tables set in front of a village bar; the façade of a recognisably Italian church; a fountain whose surround was integral to movement in the production; and walls covered with '50s Italian film posters. Intelligently lit, the set converted beautifully for the night scene.

This was an assured production from director Janet Bennett, with fine support from musical director Nic Cope and pianists Oliver Williams and Susanna Proudfoot.

As so often with opera, of course, you do have to suspend judgement. Having 'knocked back' the devoted Nemorino, just a short time later Adina is promising to marry Belcore (one glimpse of a uniform - and Nemorino's affected indifference - and she's his).

A few hours and a 'furtive tear' later she's saved Nemorino from the army and is declaring her undying love for him (well, his unexpected fortune may have helped). Or perhaps it really was the love potion Dulcamara sold him that did the trick...

Lin Wilkinson

Hit with the tingle factor

Kennet Opera: 'La Traviata', an the Corn Exchange, from Tuesday, November 12, to Saturday, November 16

It's nine years since Kennet Opera staged its first opera, and with this production they have really come of age, vocally and in terms of production, direction and design. To stage an opera at local level is a huge undertaking, demanding great commitment from all concerned, and must necessarily focus on the most popular repertoire, so this was the company's second 'Traviata'.

Little wonder that Verdi's opera, here sung in English, remains at the top of the opera 'hit list'. Gloriously tuneful from start to finish, with some of the most beautiful arias ever written and a strong dramatic charge, it's guaranteed to touch the emotions.

Kennet Opera have a real find in Fiona Whitehead as Violetta. On stage almost continuously, her trained voice dominated the evening with its quality. Expressive and controlled, its lyrical modulations reflected Violetta's own situation and that of the unfolding drama. She was well matched by professional tenor Davis Revel as Alfredo. He has a strong confident voice with lots of attack (though a tone which can be a touch nasal), but showed less capacity for light and shade. In both arias and duets these singers were not only a treat vocally and dramatically, not easy when singing in an exposed way to two pianist rather than a full orchestra.

The great second act scene between Violetta and Alfredo's father was well serviced by Andy Spaak as an affecting Germont, with his even, expressive voice. On stage he is rather static, but vocally he achieved the difficult balance of asking the courtesan Violetta to sacrifice her love while suggesting respect for her; his later remorse rang true.

Mary Swait as Flora is another fine voice, dramatically at ease. Roger Mann, a sound actor and singer, gave Doctor Grenvil humanity alongside professionalism, with strong support from David Swait as the Marquis, Alan Fryer as the baron, Gordon Fry as Gastone and Sam Spaak as Annina. The chorus were well choreographed and a joy to listen to, with full soaring tone.

A full orchestra is clearly financial prohibitive, but sympathetic playing by pianists Oliver Williams and Susanna Proudfoot did the score justice, and though who know it by heart find that the 'mind's ear' automatically supplies the orchestration. Stephen Bennett was a positive, nurturing musical director, and Janet Bennett's sensitive, firm direction ensured a lively pace and pleasing stage groupings.

Design was simple, uncluttered and classy. Two huge perpendicular mirrors, flanking a back projection screen with appropriate paintings by Susan Mann (camellias, of course, at the end of the of the opera), remained throughout, reversed to show country colours in the second act, and metaphorically draped in the third. Fronted by a couple of pieces of furniture appropriate to each act, scenic continuity was ensured and dramatic momentum unimpeded.

Wardrobe mistress Julia Radbourne cleverly and marginally adapted chorus evening dress from act I to produce the gypsies and matadors of Act II.

I have a soft spot for 'Traviata'. It was the first opera I saw professionally performed. I took a box of tissues and cried through most of the second and third acts. It's a tribute to Kennet Opera that the tingle factor was much in evidence in the fine production.

Lin Wilkinson

2001: Cavalleria Rustica and I Pagliacci

Company in fine operatic voice

'CAVALLERIA RUSTICANA' AND 'PAGLIACCI', performed by Kennet Opera, Tuesday November 13th to Saturday November 17th, 2001

Opera is arguably the most exposed of the performing arts, and the one in which the level of competence between professionals and amateurs is most marked. So it's hats off to Kennet Opera who, since 1994, have brought to local audiences what is commonly (and increasingly erroneously) regarded as an elitist taste. Opera is attracting bucketfuls of new admirers; once hooked, you're hooked for life.

'Cavalleria Rusticana' and 'Pagliacci' - affectionately 'Cav' and 'Pag' - are short, compatible operas, generally performed together, and both were sung in English.

'Cav', with its themes of passion, betrayal and retribution, catapulted Mascagni to fame at the age of 26. The moving 'Easter Hymn', with its haunting reprises, was beautifully and touchingly sung, led by the commanding voice of Fiona Whitehead as the wronged Santuzza. Hers was the dominant vocal presence of the evening: her accurate, trained voice, emotional phrasing and dramatic skills imbued the role with genuine pathos and depth. Roger Mann's baritone is not a big voice, but as the wronged and vengeful Alfio he was a forceful, intense presence. Margaret Payne as a calming Mamma Lucia tackled her first principal role with the company, and Gay Buchanan brought panache to the part of Lola. In both operas, the well-rehearsed and directed chorus were in fine voice, and the children charming.

In Leoncavallo's 'Pag', a Kennet Opera favorite, Gaylene Ellwood sang Nedda. Her pretty, expressive voice and sassy stage presence were more than matched by newcomer to the company, John Milford, singing Silvio. He is a real find, vocally and dramatically, and their emotional aria communicated tangibly. Tony Rath sang two demanding roles, Turiddu in 'Cav' and Cannio in 'Pag', visibly relaxing in the second as Pagliaccio. As the play becomes a pastiche of reality, he is the archetypal clown making the world laugh while his own heart breaks. Andrew Spaak was a powerful Tonio and Gordon Fry brought humour to the harlequin Beppe.

The operas were produced by Sarah Scott, directed by Sam Spaak, with musical director Stephen Bennett conducting pianists Oliver Williams and Susanna Proudfoot. Those familiar with the music found the ear's memory soon added the full orchestral colour.

Thoughtfully designed sets, effective lighting and well grouped crowd scenes meshed the production together. Costumes were simple but well considered: traditional black in 'Cav', the villagers' skirts trimmed with colour, and 'Pag' performed in casual modern dress. The T-shirts bearing sponsors' names were a clever touch, and the smart programme contributed to the professional feel of the production.

LIN WILKINSON (Newbury Weekly News)

Superb principals and chorus

Kennet Opera presents 'Carmen' at the Corn Exchange, Newbury, on July 6, 8, and 10

I do have one or two minor reservations, but let me say at once that this is a good production. It is a considerable achievement for Kennet Opera in their comparatively short existence, to have amassed such musical talents. There are no duff singers here, but some excellent principles and an exceptionally well-drilled chorus. Step forward, musical director, Barbara Spooner, and a special word for the children's chorus.

Mary Hammond and George Freeburn were a well-matched Carmen and Don Jose, with great vocal control and expression. I did wish that they were slightly more erotic. Carmen is about lust rather than love; scorching passion under a scorching sun. This wasn't hot-blooded enough for my taste. More physical contact would help. Nothing sordid, you understand, but enough to make me think that if the audience crept out for a minute they'd be at it like knives.

Frasquita and Mercedes (Fiona Whitehead and Gay Buchanan) were fine additions to the proceedings, singing and acting well in ensemble with Carmen. Full marks, too, for an assured and likeable Escamillo (Stephen Bennett), confidently successful without being smug or arrogant. Claire Bessent sung Michela with conviction well suited to the character and - and here's a break with tradition - not in a blue dress. Whatever will the Basques say?

Direction (Janet Bennett) and lighting (Andrew Griffin) were generally good. Look for the card-reading scene: excellent grouping with sentries on the outskirts and Carmen discretely plucked out. There were less successful moments; some members of the chorus were inclined to look too obviously at the musical director, while others overdid the 'rhubarb mugging'. Some lighting cross fades were a little quick (doesn't night fall suddenly in the tropics!) but I enjoyed the coup de theatre at the end.

Apart from distracting door flats in Act I, settings were uncluttered and effective and costumes added considerably to atmosphere, with one exception. Please tell me that at some point the smuggler king had unwittingly offended his wardrobe mistress; his upholstery must surely have been revenge.

But I carp, and mischievously. This is overall a notable success and musical treat. Try it.

Robert Baker-Glenn - Newbury Weekly News

Thoroughly enjoyable

'The Masked Ball' presented by Kennet Opera at the Corn Exchange, Newbury

Kennet Opera's production of Guiseppe Verdi's 'A Masked Ball' ('Un Ballo in Mashera') will also be performed tonight (Thursday) and again on Saturday (though not on Friday). It should not be missed.

A powerful story of love and conspiracy leading to murder and forgiveness, it received a most satisfying treatment under the Opera's director, Janet Bennett, and musical director Barbara Spooner.

The integrity of Ricardo, King Gustav III of Sweden (admirably sung with the notably clear words of Russell Hibberd) deters him dishonouring his friend's wife, Amelia, whom he loves. This leads to his Murder.

Amelia (Lyn Griffin) is distressed and confides in the fortune teller, Ulrica (played by suitably mystical Mary Hamond), who foretells Ricardo's death. Lyn Griffin took a little time to warm up vocally but, from the very exacting Act II, where Ricardo finds her searching on the 'abandoned heath' for a herb to cure her love, she was admirable, torn between love and duty. Her husband, Count Ankerstrom, the King's friend and aide who is moved to conspire in his murder through the belief in her unfaithfulness, was well portrayed by Andrew Spaak.

Gaylene Ellwood played Oscar, a delightfully kooky page and her clear boyish voice and neat high coloratura, added moments of light and gaiety to the sombre story.

The various conspirators, and indeed the whole cast and the excellent chorus, sang and acted Verdi's wonderful music 'to the manner born'. There was a particularly effective men's chorus in the final act.

The simple settings and the lighting were very effective, particularly the sinister den of the fortune teller and the moonlight hearth and its gibbet.

Barbara Spooner conducted and Stuart Pemberton and Oliver Williams accompanied on two pianos. It was to their credit and to that of everybody involved that the lack of an orchestra seemed of little consequence.

Grisell Davies - Newbury Weekly News, 9th July 1998

Moving Puccini

La Boheme: Kennet Opera at the Corn Exchange.

Puccini's La Boheme appeared in 1896 and was first performed in England 100 years ago. It is appropriate that Kennet Opera made their first appearance at the Corn Exchange in his great work.

Everyone can identify with this poignant and realistic story, and on this occasion one believed entirely that one was watching four impecunious young men an a cold garret in the 'Quartier Latin'. The players were at ease, and the naturalness and 'realism' was apparent throughout; a credit to the expertise of director Janet Bennett and producer Sue Mann.

It was sensitively accompanied on two pianos by Daniel Nichols and Margaret Spence, and conducted by Barbara Spooner; any initial fear that the lack of orchestral colour and warmth might lessen the emotional impact was soon dispelled as the singers were able to convey the intensity of the drama.

Puccini contrasts two young couples; Rudolfo and Mimi, innocently falling in love at first sight, while Marcello's relationship with good-hearted, but fickle, Musetta is more stormy. Petite Gaylene Ellwood, with her high clear, youthful voice was most touching as the frail Mimi; Lyn Griffin with her rounder tone, dancing and having a good time was more worldly-wise.

The fine Tenor, Tony Green, as the poet Rudolfo and baritone Stephen Bennett, as the painter Marcello, expressed their love in different ways and with the musician Schaunard (bass, Davis Swait) and the philosopher Colline (Andrew Spaak), with his precious coat, made a fine quartet of friends.

The lively Second Act starts in the crowded square and café on Christmaqs Eve, where children and all sorts of people are enjoying themselves, and provides some light-hearted relief from the problems of the protagonists. Musetta's wealthy, elderly lover Alcindoro (Mark Lilycrop) was cheekily left to foot the entire bill, but hardly looked very odd. Both choral and solo voices were so well projected that momentarily, and quite wrongly, one wondered whether the sound was being 'assisted' electronically!

Their fine fresh voices and the intelligent and musical singing by all the cast, were admirable. Kennet Opera are fortunate to have Barbara Spooner, formerly of English National Opera, as musical director for recent productions. But it was often difficult to hear the words in a translation which was natural and colloquial and also fitted the music very well.

The simple and effective sets were designed by Roger Mann and Chris Chapman.

The final moments when Mimi, in extremis, is brought back to Rudolfo in the garret and dies at his side, while friends prepare to sell precious possessions to pay for a doctor was very moving. How good to hear La Boheme with its great tunes performed in local Newbury by such a accomplished local group.

Grisell Davies - Newbury Weekly News, 17th July 1997

Verdi Production wins deserved acclaim

LA TRAVIATA: Kennet Opera at Luker hall, St. Bartholomew's School, on July 2, 4 and 6

Four, or was it five, final curtain calls testified to the success of Kennet Opera's production of Verdi's 'La Traviata' last Thursday. This was a good choice for a company that is steadily building up an enthusiastic following: in irresistible story, a wealth of glorious melodies and a two-handkerchief ending. What more could an opera-goer want?

With its carefully contrived dramatic shape, the intimacy of the action and its emotional honesty, this is one of the world's great music dramas, and it was good to have the musical direction again in the competent hands of Barbara Spooner. Her English National Opera experience ensured that the work was paced to perfection, while her pianists, Joanna Miller and Daniel Nichols, provided neat accompaniment throughout, setting the ever-changing with sensitivity. Their prelude to Act 3 was particularly touching.

Soprano Carol Oliver, with her Sydney Opera House experience, is a considerable acquisition for the company. She caught the feverish, brittle quality of Violetta's coloratura in the first act cabaletta and went on to even better things as her voiced warmed, shaping Verdi's great arching phrases with feeling. Her playing of the act 2 encounter with Germont pere, as realisation dawns, and she moves sadly towards an understanding with her lover's father, was most affectionately done. Her surrender here (Dite alla giovine) and her poignant locket aria in the last act were highlights of the performance.

Again in the second act duet, the fulcrum about which the whole work pivots, there was intelligent singing from Andrew Spaak as Germont, catching the unimaginative stolidity of the father, and later giving an accurate and characterful 'Di Provenza…'

Tony Green brought his attractive tenor voice to the part of Alfredo. Occasionally a little unsteady above the stave, he husbanded his resources well, bringing out the impetuosity of the lover in 'Un de felice', singing with ardent sincerity in the recitative and aria opening Act 2, and moving in his final duet with Violetta.

The supporting roles were all convincingly played. Sam Spaak was a lively, clear voiced Annina, measuring her solicitude in the final scene well, Roger Mann was an aloof Douphol, making the most of a difficult role, and Mary Hammond as Flora made a gracious hostess. Congratulations too to the chorus, who sung and moved well and were always totally involved.

Director Janet Bennett made good use of Luker's wide but shallow stage, achieving a spaciousness in the splendid ballroom and party scenes while not loosing the crucial intimacy of the most critical encounters. Bravo too for including the gypsy and matador scene, often omitted but, with its contrasting levity, important to Verdi's design.

It only remains to praise the staging simple, uncluttered and effective, and the 1930s costumes, and to wish this enterprising company well in its next endeavour.

APB - Newbury Weekly News

A Convincing Carmen

Carmen: Kennet Opera at Luker hall, St. Bartholomew's School, on Thursday 6 and Saturday July 8

The decision to stage Bizet's colourful masterpiece was a brave one, but whatever this aspiring young company lacks, it's certainly not confidence. Their thoughtful adaptation of 'Cosi fan Tutte', produced on a shoestring last year, worked surprisingly well, and they brought a similar imaginative approach to the judiciously trimmed 'Carmen'.

Director Janet Bennett and her production team are to be congratulated. The staging was simple bit effective, movement was lively but never overdone, and masking was avoided. (One could sense a loosening on the first night as the players relaxed into their roles.) Only the lighting, which sometimes failed to add its vital emphasis to the drama could be faulted. The costumes were splendid, from the crumpled authenticity of the bored soldiers to the 'Sunday best' dresses of the girls in the last act, complete with mantillas and lace.

But Tuesday's lead came, as it should, from the 'pit' where Barbara Spooner's conducting spoke of her English National Opera experience. She is a considerable acquisition to Kennet Opera, and the singer and her 'band' of pianists Daniel Nicholls and Joanna Miller and trumpeter Jeremy Wood responded eagerly to her supple baton. The pace was calculated, the dramatic tension tightening perceptibly as the sordid story drew to its tragic conclusion, and the irony of the music of the final scene was tragically done.

Mary Hammond made a convincing Carmen, coolly calculating rather than sensually seductive, but always her own woman, and, importantly, her big vocal moments were consistent with her interpretation of the role. Her Don Jose was Tony Green, who used his flexible voice intelligently (with a fine ardent Flower Song) and who played the gradual disintegration of his character with desperate sincerity.

Clive Thursfield found the nobility in Escamillo, although his act of generosity towards Don Jose was cut from the fight scene, and his Toreador's song had a triumphant swagger without being arrogant. Gay Buchannan sang Micaela's music sweetly, and shone in the Act One duet with Don Jose, but she was stretched by the tessitura of her Act Three aria. Of the many good supporting parts, Sam Mussett's natural acting and evident involvement in the role of Mercedes took the palm.

The highlights of the production came in the ensembles. A well-drilled chorus in the Habanera, the Smuggler's quintet and the tavern scene were exciting moments, the occasional rawness of the voices giving an added realism to Bizet's picaresque tragedy, and the fortune-telling scene, with its conflicting emotions and premonition of the approaching calamity, was particularly well handled.

This was another thoughtful production and Kennet Opera deserves to flourish.

APB - Newbury Weekly News

Promising beginnings

COSI FAN TUTTE: Kennet Opera at John Rankin Junior School

Kennet Opera was born of a conversation in the Carpenter's Arms, where members of the Newbury Operatic Society were relaxing after a rehearsal of 'Oliver!' last November. "It wasn't exactly the beer talking but we were all in the mood to go for it" said chairman Roger Mann.

And 'go for it' they certainly did. The choice of Mozart's masterpiece for the company's first venture was a bold one, but although Cosi fan Tutte makes individual demands on the singers, the cast is a small one and staging requirements are not extravagant. The direction was in the sure hands of Peter Murray, well-known for his expert work at the watermill, who also adapted and conducted the work.

The decision to omit many of the recitatives, replacing them with succinct narratives clearly read by Susan Mann between the scenes was a good one; this and the snappy scene changes kept the pace cracking along and interest was never allowed to flag. Indeed, shorn of its overture, we were plunged at once into the opening argument between the three men.

Michael Powell as Fernando made an immediate impact. He is a big voice and he is not afraid to use it, and his confident serenading was in keeping with the swaggering character he had established. This was thoughtful playing. Andrew Spaak took longer to warm into his role a Guglielmo, and not until his wooing of Flordigili did he reveal the ripe range of his richly vibrant voice. The two sisters were a delight. Mary Hammond made a deliciously winsome Dorabella, and if Gay Buchannan won the warmest applause of the evening for Flordiligi's second act aria, the memory I carried away was of their delectable duetting.

Roger Mann caught the character of Don Alfonso nicely, and Sam Musset was a bustling, sweet-voiced Despina who clearly had the measure of the two sisters.

The 'orchestra' comprised of Nicola Hodges and Mathew Smallwood at the two pianos. If the subtlety of Mozart's instrumental colour was missed, there was no lack in the vivacity and the success of the evening was due in no small measure to their sensitivity. But the occasional use of a synthesizer to simulate the sound of a harpsichord was a mistake, as a nod in the direction of authenticity it was futile, and the noise it made was dreadful.

Following the sad demise of the Opera Group after June Baker's departure for Lancashire, this new venture with its commitment to performing staged opera in Newbury is to be welcomed and encouraged. The enthusiastic response of the audience certainly spoke of the need for such a company in the town.

APB - Newbury Weekly News