Love, transformation and betrayal: Rusalka a triumph for Opera Queensland
It may be three hours and 15 minutes long but there’s never a dull moment in Opera Queensland’s brilliant production of Antonín Dvořák’s opera, Rusalka.
In Antonín Dvořák’s opera Rusalka, the story is relatable. When the going gets tough, who hasn’t longed for an alternative life?
The heroine, water nymph Rusalka, becomes disenchanted with the colourless aquatic realm she shares with her sisters. She hankers after a human existence, much to the disgust of her father Vodnik the Water King. Warwick Fyfe shines as Vodnik in this Opera Queensland production. His voicing of the King’s maudlin oratories is invested with great authority.
Despite her father’s disapproval, Rusalka persists in pursuing her dream of becoming a mortal being and winning the heart of a capricious mortal prince. She’s offered a dubious Faustian deal by witch Jezibaba, stunningly aired by Ashlyn Tymms. Rusalka willingly exchanges her voice to realise her desire.
Tenor Rosario La Spina acquits the role of the fickle prince with a silvery, impassioned vocal ease. His callous betrayal of Rusalka (soprano Eleanor Lyons) costs him his life and the heroine is pitifully trapped in nowhere land, suspended between her former watery home and the human world.
Commissioned by the Opera Conference, the national partnership of professional opera companies, this winning spectacular with inspired direction by Sarah Giles is advantaged by Dvorak’s palette of imaginatively framed, gorgeous instrumental colour commendably realised through conductor Vladimir Fanshil’s direction of the Queensland Symphony Orchestra. Notable solos from violins, cor-anglais and harp add to the musical appeal.
Recalling the powerhouse partnership between Richard Bonynge and Joan Sutherland, Fanshill is married to soprano Eleanor Lyons, who is dazzling in the leading role. Rusalka’s arias are full of challenges requiring impeccable control. Song to the Moon is the opera’s big hit, but it’s heard so often so the challenge is to breathe new life into it. Lyons’ delivery was exceptional.
Visually, the show is a delight. Through the combined artistry of set designer Charles Davis, lighting designer Paul Jackson, video content creator David Bergman, movement specialist Lindall Grant and Renee Mulder’s quirky costuming, QPAC’s Glasshouse Theatre’s stage morphs into a spooky liquid realm, the look marvellously in sync with the flowing shimmering score.
Audiences can be critical. Did the acting surpass the singing or vice versa? Were all the soloists of sufficient stature? In this production all artistic forces excelled, including those inhabiting lesser roles – Eva Kong, Maia Andrews, Eleanor Greenwood, Shikara Ringdahl, Shaun Brown, Carlos Barcenas and Aylish Ryan.
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Rusalka is a be-careful-what-you-wish for tale, resembling Hans Andersen’s The Little Mermaid but with some oddities in the plot, which sometimes makes it hard to suspend disbelief. On the other hand, the singing, acting and joyful investment from the entire Opera Queensland cast, including the chorus, is radiant and irresistible in this brilliant show with a populist reach.
Rusalka continues at the Glasshouse Theatre, QPAC, until July 4. (Rusalka is sung in Czech with English surtitles).
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