"The Guildford Opera Company were on good form for their latest production at The Electric Theatre - Verdi’s “A Masked Ball” – an opera with a dramatic story of palace jealousies, political intrigue and regicide. Verdi’s score captures the intensity of situation which Francis Griffin, as GOC’s guest conductor and musical director, maximised to full effect with the orchestra, offering a lush and full-bodied sound that resonated throughout the auditorium.
‘Revolutionary Europe’ in the late 18th century is the backdrop for the action, based around King Gustav III of Sweden’s assassination in 1792; he was shot while attending a masked ball, although Verdi’s opera provides little historical accuracy or detail. The 18th century, however, offered Kris Benjafield as the GOC’s Wardrobe Mistress, full reign to impact on the colour and drama. She seized that opportunity. Played against the restrained set designs of Jackie Shearer, the costuming was lavish and considered. At times it additionally supported the conspiratorial mood as the collective effect of billowing gowns momentarily obscured or distracted attention – particularly effective in the grand ball scene.
A strength of Guildford Opera has long been its chorus and ensemble work. This production once again reached high levels of discipline and artistry. Voices soared in a confident and cohesive manner interpreting a score that appeared comfortably within range; never once did I feel it out of control or beyond capability. Stage Director Jackie Shearer, mostly opted for a tableau effect, using the small acting area of the Electric Theatre stage in a practical and satisfying manner.
The principals played in two teams and appeared on alternate evenings. I saw ‘the Thursday team’ and warmed to Jan Barklem as Amelia - the catalyst for the King’s undoing – and the cheeky interpretation of Asuka Kurogi as Oscar the page: Kevin John was a suitably regal as King Gustavo, Peter Barber as his cuckolded friend Renato played well against him. Katherine Marriott’s interpretation of Ulrica, a gypsy fortune teller was scary and distrait – reminding me never to visit a fortune teller again.
The company attracted Full Houses throughout the run and on the Thursday night sustained applause for many minutes at the final curtain."
(Submitted to the Surrey Advertiser)
Jeff Thomson.
‘Revolutionary Europe’ in the late 18th century is the backdrop for the action, based around King Gustav III of Sweden’s assassination in 1792; he was shot while attending a masked ball, although Verdi’s opera provides little historical accuracy or detail. The 18th century, however, offered Kris Benjafield as the GOC’s Wardrobe Mistress, full reign to impact on the colour and drama. She seized that opportunity. Played against the restrained set designs of Jackie Shearer, the costuming was lavish and considered. At times it additionally supported the conspiratorial mood as the collective effect of billowing gowns momentarily obscured or distracted attention – particularly effective in the grand ball scene.
A strength of Guildford Opera has long been its chorus and ensemble work. This production once again reached high levels of discipline and artistry. Voices soared in a confident and cohesive manner interpreting a score that appeared comfortably within range; never once did I feel it out of control or beyond capability. Stage Director Jackie Shearer, mostly opted for a tableau effect, using the small acting area of the Electric Theatre stage in a practical and satisfying manner.
The principals played in two teams and appeared on alternate evenings. I saw ‘the Thursday team’ and warmed to Jan Barklem as Amelia -
The company attracted Full Houses throughout the run and on the Thursday night sustained applause for many minutes at the final curtain."
(Submitted to the Surrey Advertiser)
Jeff Thomson.