![]() ![]() ![]() Overseeing this piteous declaration of faith in the power of human love are Majella Cullagh’s Moon and Owen Gilhooly’s Sun, in aloof counterpoint to the soaring thrills of Kim Sheehan’s Nightingale. This develops as an orchestrated commentary on a romantic little bird’s decision to give her life’s blood so that a lover can find a red rose for a girl who doesn’t deserve it. These are considerable, written as intricate variations for nine instrumentalists doubling as a group of appropriate Muses and in some cases as the wild creatures of the nightingale’s environment. ![]() Of course O’Brien, the composer, director and, with Éadaoin O’Donoghue, writer of the opera, knows his choral kin: the house has his back, and the response is in tune, in time and in sympathy with the musical demands of the score. The case could be made that the audience should be up there also in a disarming introduction, O’Brien himself conducts the patrons in a rehearsal of a theme to be sung at two critical points. The Everyman, Cork ★ ★ ★ ★ ★ The technical virtuosity enlivening this world premiere of John O'Brien's operatic version of the Oscar Wilde story is such that it is no surprise when the entire production crew joins the cast for what would be a curtain call if there were a curtain. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |