Opera Reviews
29 March 2024
Untitled Document

An exciting premiere



by Moore Parker
Bell: A Harlot's Progress
Theater an der Wien
24 October 2013

Photo: Werner Kmetitsch / www.photowerk.atIn a daring stroke of programme planning, Vienna's Theater an der Wien chose to commission a sister work to follow and compliment Stravinsky's A Rake's Progress. Also based on the celebrated engravings by William Hogarth, A Harlot's Progress - in this operatic version of six scenes by Iain Bell (composer) and Peter Ackroyd (librettist) - tells the tragic tale of a young Yorkshire virgin (Moll Hackabout) who becomes embroiled in a world of deceit and vice in London, eventually landing in prison where she gives birth to a daughter, and ultimately falling victim to insanity and death from Syphilis.

The storyline is undemanding in its stage requirements, and is succinctly depicted in this world premiere using simple whitewashed panelled walls and gates with basic modern props (Mathias Neidhardt), lavishly augmented by voluptuous semi-period costumes (Sibylle Gaedeke) - all nicely neutralizing the epoch and aiming the spotlight on the cast and music.

The evening is filled with powerful moments. However, the unrelenting orgy of vice, violent sexuality and tragedy risk becoming hectoring and monochrome for lack of emotional contrast. Too often the libretto is unintelligible although the cast appeared unusually focussed on enunciation and were at times quite comprehensible. Bell's score - while not particularly individual or original in character - shows an evident grounding in writing for the voice, as well as an ability to underscore the libretto and produce dramatic effect.

Moll, tailor made for Diana Damrau, is a fabulous vehicle for this artist's exceptional talents. Progressing from the naive young woman to the victim of male lust (both in relationships and in prostitution) through motherhood to insanity and death, this role is no picnic in any respect. Damrau's singing and acting are consummate and unquestionably point the way toward the challenges of Janacek's masterpieces, Jenufa and Katya - and indeed Marie in Wozzeck, Lulu, and some of the more substantial Strauss repertoire.

Marie McLaughlin is long known for her artistic merits. Here, she impresses as the ruthless (and almost too glamorous) Mother Needham - an energy powerhouse on stage, with a beefed-up lyric soprano to well suit a character role of no small dimension.

Tara Erraught's Kitty (Moll's maid and only true companion) is intense, credible, and sympathetic throughout - a compelling, if perhaps vocally precarious, reading.

As James (Moll's true love, and subsequent pimp), Nathan Gunn is an ideally virile - yet appropriately distasteful - figure, proving an excellent pendant to Damrau both vocally and dramatically.

The lecherous St. John Lovelace is given just the right treatment by Christopher Gillett, and Nicholas Testé proved a flexible and powerful force as his triple bill as a Coachman, Officer, and Jailer.

Mikko Frank (who undertook the project at short notice) appeared to command complete control over proceedings with the Vienna Symphony Orchestra producing compelling moments from all sections of the pit.

The logistics, clear definition and interaction of the characters proved no less than stupendous throughout the piece, testifying to highly-skilled direction by Jens-Daniel Herzog.

In many respects an exciting operatic evening, and a triumph for all involved.

Text © Moore Parker
Photo © Werner Kmetitsch / www.photowerk.at
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