By Reviewed By Michael Shmith
Rienzi
Wagner
Melbourne Opera
Athenaeum
December 8
Rienzi: der Letzte der Tribunen (the last of the Tribunes) is early Wagner, and composed for the Dresden Court Theatre in 1842. It has taken 171 years for this sprawling, lumpish curiosity piece to have its Australian premiere, and, with the Opera Australia Ring on just down the road, it was a good time for Melbourne Opera to weigh in.
On song: (from left) Melbourne Opera singers Sam Sakker, Jason Wasley, Rosamund Illing and Joanna Cole.Credit: Robin J Halls
Even the most rusted-on Wagnerite would have to admit Rienzi is not of the first water. It is famed for its overture and for two of its arias. Otherwise, its crude format and style owes more to Meyerbeer than to the composer Wagner would become - although the music contains a few intriguing precursors to Tannhauser, Lohengrin and Meistersinger.
This piecemeal concert performance, in German, was distinguished by generally fine singing, especially from the three principals: Jason Wasley heroic in the title role; Joanna Cole strong and accurate as Rienzi's sister, Irene; and Rosamund Illing giving a sterling and fearless performance in the trouser role of Irene's beloved, Adriano.
The MO Chorus (chorus master Raymond Lawrence) sung lustily. Less distinguished was the coarse and scrappy playing of the MO Orchestra under Greg Hocking. Mainly the evening was driven too hard, with lyricism at a premium. But, then, Rienzi, is not exactly a subtle piece.
Even though the music was cut to just over three hours, the night still seemed far too long. I thought back to the irresistible remark made many years ago, by a venerable London critic, whose review of Rienzi began (I paraphrase): Adolf Hitler, as we know, did many terrible things. But there's one thing that he did for which we should hold him in our debt - he was given the original score of Rienzi and lost it.