It was the Cornish landscape that truly inspired the 21 year
old George Lloyd’s first opera Iernin.
Not staged since its première in 1934 and its London run in 1935, George
Lloyd's Iernin, based on a Celtic
legend inspired by the Nine Maidens stone circle near Penzance, tells the story
of a maiden turned to stone by puritanical priests, only to reawaken hundreds
of years later and ensnare the heart of a betrothed Cornish nobleman. This is
set against the backdrop of a soon to be occupied Cornwall and the struggle of
its leader and people to retain their independence from the Saxon overlords
At the time the Cornishman and Cornish Telegraph reported
‘Scenes of great dramatic intensity and moments of lyricism are embodied in the
Cornish grand opera, Iernin which was produced for the first time at the
Pavilion, Penzance on Monday night.’ The Times music critic, Frank Howes, was
present at the first performance and it was his glowing review that enabled it
to be transferred to the Lyceum, London where it achieved great success.
The Surrey Opera
production has had three performances in Croydon before transferring to St.
John’s Hall, Penzance, Cornwall for two more performances on 1st and
2nd November 2013, effectively taking the opera home.
Jonathan Butcher www.operatalent.com/Safe/People/JonathanButcher59975833.asp?persona=98
conducted the chorus and orchestra of
Surrey Opera together with a strong cast consisting of Catherine Rogers
(Iernin), Edward Hughes (Gerent), Felicity Buckland (Cunaide), Håkan Vramsmo
(Edyrn), James Harrison (Bedwyr), Jon Openshaw (Priest), James Schouten
(huntsman), Robert Trainer (Saxon thane), Tim Baldwin (old man) and Georgina
Perry (little girl).
Producer, Alexander Hargreaves www.stagejobspro.com/uk/view.php?uid=468773
, has seen in the libretto of this opera more than simply a love story but selflessness
and love of an ideal, drawing on connections with the composer’s own Second
World War experiences. Certainly if one reads the libretto in this context one
can see that the librettist, the composer’s father, William Lloyd, must surely
have had his own First World War experiences in mind.
Even though the composer may not have had twentieth century
dress in mind for his opera set in the 10th century, he would, I
know, have approved of the simple but effective stage sets. In Catherine
Rogers this production had a first rate Iernin, an extremely taxing role to
which she brought her fine voice.
Alexander Hargreaves’ direction provided many fine moments,
though, when the huntsmen appear on stage, it was perhaps rather too busy with
the chorus too centre stage. I was also not entirely convinced by the modern
dress version of the Saxon Thane when he appears early in Act 2. However, these
were small matters in this fine production. The orchestra and chorus were first
rate in the huntsman scene with a fine horn solo from the principal horn.
There were many musical highlights including a wonderful
first Act duet from Edward Hughes (Gerent) and Håkan Vramsmo (Edyrn) as well as
Gerent’s following aria ‘Long years ago’.
Both these singers showed fine voices as well as great dramatic presence.
The spoken dialogue in Act 2, Scene 1 was particularly effective
with Tim Baldwin as the old man, holding this section together brilliantly. In
Scene 2 Jon Openshaw made a fine priest, full of presence and stature, also
having to sing offstage for an indisposed James Harrison (Bedwyr) who,
nevertheless acted his role on stage.
Catherine Rogers brought tremendous strength to her final
aria ‘Hear me, thou Shining Power’, finely
building the drama in a piece that is by turns affectingly beautiful and dramatic.
How she sustained the power and sensitivity was remarkable in this taxing aria.
In the transition to the orchestral storm sequence there was some very fine
string playing.
Act 3 brought a terrific duet from Catherine Rogers and Edward
Hughes with some more fine playing from the orchestra as well as the trio from Felicity
Buckland (Cunaide), Edward Hughes (Gerent) and Catherine Rogers (Iernin), so
wonderfully done.
Felicity Buckland was a fine Cunaide particularly in the Act
2 ‘What if I have their love’ one of the
great arias that she has in this opera and, perhaps the greatest aria in the
whole work when, towards the end of the final Act, she sings ‘The spell is passed.’ Into this final
scene Director, Alexander Hargreaves, brings soldiers in twentieth century
uniforms. Iernin, now returned to her form as a stone, is finally revealed as a
war memorial and Gerent as an injured soldier. Whilst not what the composer
would have expected, Cunaide had already prepared us for this moment when, in
her preceding aria she sang ‘Who
willingly gave their breath that you and yours might be free’. I found this
scene almost unbearably poignant.
In some ways this production risked the usual controversy
over the use of modern dress yet the effect when the end of the final Act
arrived surely justified this view. There can be no doubt in all other respects
that this production was musically a triumph.
If you are able to get to Penzance for the final two performances
you will be assured of a memorable evening.
If you are unable to make the journey then the complete opera
conducted by the composer can be obtained from Albany Records UK www.georgelloyd.com/index.php/2012-10-29-20-23-41/recording-catalogue/items/view/troy121-122-123
Thank you!
ReplyDeleteSue Low, Surrey Opera