This was a fine production and kudos to all involved. Energetic, witty, and relevant to our paranoid times. And very funny. Very physical – all the singers danced and acted. Even the chorus were all over the stage at various points.
The music fizzed and bubbled like good champagne. A lot of comedy which pleased the crowd but also more emotional moments and the finale of ‘Make our garden grow’ had pathos and heft.
NZ Opera's Candide Photo: Supplied
The singers wore microphones which I was a little concerned to see but the mixing was superb and apart from a few buzzes and bangs the electronics merged seamlessly with the orchestra.
Given the amount of dancing and general stage business the singers had to do the microphones were essential really so that the words weren’t lost.
There were many highlights. The American styled religious fundamentalist Inquisition informer, the dancing Inquisition officials, the staging of the Lisbon earthquake by the chorus, the sheep, the stabbings (!), more dancing.
Beautiful costumes and makeup. The chorus particularly striking with black 18th century styled costumes, big white wigs and powdered white faces. Great work by designer Roger Kirk and especially the lighting designer Trudy Dalgliesh whose work was as much a part of the drama as the singers.
The choreography by Yvette Lee was a whirl of activity for the singers and the chorus. It all captured the wild energy of Voltaire’s tale effectively.
A spectacular backdrop of lush curtains, chandeliers, and a map showing Candide et als travels which was spot lit at times to show us where we were. An extension to the stage jutted out into the hall and gave the singers lots of space to perform on. Every inch of it was used as well.
And the music …
The APO conducted by Wyn Davies rose to this sometimes demanding score. Vivacious and sparkling playing throughout. The musicians also interacted with the singers at times – total theatre as they say.
The singers were all very good indeed. I doff my hat to the sheer physical work of the production as well as the singing. Take Amelia Berry (Cunegonde) as one example. Her showcase aria ‘Glitter and be Gay’ is a very tricky piece to sing with multiple high Cs and virtuoso passages.
She managed it in grand style all the while dancing, dressing, bejewelling herself and transforming her character as well.
The redoubtable Reg Livermore played Voltaire and Dr Pangloss with rich and perfectly timed comedic ability and fine singing. Jaqueline Dark (The Old Lady) pulled out all the tango and vocal stops with ‘I am easily assimilated’, just one of the numbers in the show that reflected the politics and anxieties of when it was composed – and still ring true in our paranoid and Trumpian age.
All the principals brought lots of character, comedy, and energy to the roles without it descending into simple farce.
Voltaire’s book and Bernstein’s opera, operetta, musical (or whatever it is!) have serious points to make about intolerance, fanaticism, fake morality, politics etc. And these weren’t lost. The final ensemble aria was moving and powerful and showed as ever how the cats, musicians, designers etc had worked together to make what I would describe as a triumph.
