German company cuts opera down to size

Press, 23 March 1988, Page 20

German company cuts opera down to size

By

KAY FORRESTER

Those who believe opera is a very serious art may have their thinking changed by![a Pocket Opera performance. Pocket Opera, jof Nuremburg, has for (the last 14 years been developing its own! special presentation of opera.) Its aim seems to be to taking [the mickey out of the dramatic gestures and extreme emotional displays of [the art. But, while the company sets out to have fun, it has a 'serious aim.)' . i llr . I "We are ; [looking, 1 at opera from new angles,” says Elizabeth Kingdon, who plays the [ title role in “La Gioconda.’i’ which the German comany [presented at the [international Festival of [the Arts in Wellington last week. Kingdon [says (that Pocket presentations have probably made the directors' of established compariies think. Its productions are, cutdown, pocket-sized versions. David Seaman, the musical director, says that the; key to) retaining the spirit of an i jipera when reducing its full orchestra! score to music for four or five musiciahs is to keep the essence [and instrumental colour of the original score. I As well as reducing the music to a ipocket edition, the action of the opera is exaggerated.) So, in! “La Gioconda,” the characters are a German family who become absorbed into an opera they are watching , on television. ii: i Each takes over the ■ role of a character they are watching, but interwoven with the opera j character is! their I own. There is a! father, two sons, a mother, a daugh- [ ter and a transvestite who plays Gioconda’s mother. The reaction to the) j parody of opera has ' brought mixed reaction. Kingdon says “They love

> ' I 'I I' ■! us or they hate [us. 1 Nothjng in between.” Pebple who remember her i roles in thte established j Nuremburg State! [Operh tell her that they come i) to Pocket i Opera perfoimances and close their eyes. They! want to hear ier[ sing .but ho( see whati she gets I up' to on s < a ge-ii H . n ihh li ' Latrenzo Jordan, !who play? Ithe spy, Barnaba, in “La [Gioconda,” 1 says [that the form is musical theatre rather than opera. Jordan is one (of) the company members who came) to Pocket Opera not from an established opera company. He [ says he would! like to take guest roles with a regular company but would [not want to be a member ; Pocket Opera, ! which beghri its career in circus tents j and has ! staged operas in a salt mine in Polapd and under Nuremburg Castle, allows’ him to travel and be! involved in a fom of; musical theatre he einjoys. I>[|lj ; I i ji Several) of the' Pocket members. I have worked at the Nuremburg They [say the relationship with ,the established [company is an uneasy one. )| However, saySl (Seaman, a founder, “They do help us, we must) say|that.’’h ! ! Tije company is a cosmopolitan one. kingdon is from New York; Jordan from Virginia. [ ! : I There are Germans in the Company but they are outnumbered by singers front) other countries. The atmosphere of West Germany gave birth to r the company and it (could not have begun anywhere else, 1 says Kingdon. I I ) Joi dan says, [ “But now !we iio not perform in opeija houses or any one i placid, so we can go anywhere.”, [ ,: /.::!(’■■, 1 "U e came (tb New Zealand: I because we, were invitdd and it sounded likelhn interesting festival I. I to bd [involved in. Besides, the j Nuremburg [ State Opera has never been to Nevj Zealand."!! < I '