Guide Notes On This Evening’s Opera

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Notes on This Evening's Opera by Richard Kopp - - Dymocks

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The Inle Trust Evening of Opera with Joseph Calleja & Guests. Edited

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Your Night at the Opera

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That would explain some, if not all, of the piece's rough edges. Calming down somewhat, Kingsley describes the piece as "my autobiography, my musical face". But we had trouble finding a commission and Bremen was the only theatre that would stage it. Kingsley was born in Germany in and was evacuated to a kibbutz in Palestine in He soon became a pioneer of electronic music, embracing the Moog synthesiser in the late s.

A self-described "musical whore", his body of work covers advertising jingles, religious music, operas and soundtracks, including the horror flick Silent Night, Bloody Night and the soft porn movie Sugar Cookies. Kingsley's greatest popular success, though, is the instantly recognisable and infuriatingly infectious melody Popcorn, which has been recorded hundreds of times over the decades.

Raoul , he says, began life as the orchestral work Voices from the Shadows , then became an opera after an approach by German lyricist Michael Kunze. Sadly, it is Kunze's contribution that ruins the evening: his witless dialogue and inept lyrics make Wallenberg and friends sound like they are singing comicbook dialogue. Did Jews really walk around war-torn Budapest exclaiming: "I don't want to be a victim!

Adding to the production's problems are the generally hysterical tone and heavy-handed symbolism. The opera's apparent message - that even one man like Raoul Wallenberg can make a difference - was clear from the outset.

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  • Still, Kingsley's score rises above it all, stirring and gorgeous, at times recalling the operas of Kurt Weill. By the end of the evening, the faces of the Bremen audience are frozen in place. If anyone didn't like Raoul, they don't dare say. Holocaust opera fails to strike the right note with public Mon, Feb 25, , Derek Scally.