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Our Man In Havana

by Heather Leviston 20th September, 2016
by Heather Leviston 20th September, 2016
361

Having a standing-room-only audience contributed to the tropical vibe of Lyric Opera’s latest mounting of rarely performed operatic gems by notable Australian composers. Hailed at its triumphant première as “the greatest first-opera since Peter Grimes”, the ensuing neglect of Malcolm Williamson’s Our Man in Havana reflected the personal misfortunes of its composer.

With a libretto by Sidney Gilliat, who collaborated with Graham Greene to write the screenplay for the film version of the novel, Williamson’s ingenious score realises the black comedy of Greene’s spy thriller with the sinuous command of a calypso diva. Ranging from get-up-and-join-them dance rhythms to film noir drama and edgy post-modernism, his music creates an emotional landscape of masterfully integrated shifting styles. Even in this slightly condensed version, such a virtuosic work demands of the performers three hours of concentrated attention. Lyric Opera’s indefatigable artistic director, Pat Miller, has assembled an impressive band of accomplished musicians as “Members of the Buena Vista Antisocial Club” to bring Williamson’s score to vivid life.

Placed in tiers at one end of the Athenaeum’s upstairs confined performance space and without the benefit of a pit, the comparatively large ensemble occasionally overwhelmed the singers. Even so, Williamson’s scoring generally allowed the voices to be heard and good diction ensured that the text was intelligible, especially when singing was in the upper registers. The intimacy of the cabaret setting enabled most of the audience to feel in close contact with the singers and Suzanne Chaundy’s direction further promoted a sense of connection as members of the energetic Ensemble (Jessica Leslie Harris, Alison Lemoh, Matthew Hyde, Cameron Sibley, Kerrie Bolton, Timothy Daly and Timothy Newton) addressed the audience directly in their dance numbers and shared the “Wonder Bar” space.

Lucy Wilkins’ extravagant pink costumes and watermelon pink set, featuring amusing signage and cutouts of a giant Cuban dancer and palm trees, along with the tropical shirts worn by the instrumentalists and Lucy Birkinshaw’s atmospheric lighting evoked not only a sense of place, but reinforced elements of comedy and irony. Audience members further contributed to the ambiance by wearing suitably colourful tropical clothing, white hats and a general air of being at home in pre-Castro 1950s Cuba.

There was no discernible sign that the production had encountered some unforeseen challenges such as a flooded ceiling causing electricity outage for the dress rehearsal and the late replacement of the main character. Pat Miller announced at the beginning of the evening, the latter required Martin Thomas Buckingham to learn “three hours of music in three weeks”. In the event, Buckingham was excellent as Jim Bramble, vacuum cleaner salesman for Phast-Kleeners turned “Our Man in Havana” for MI6. His attractive well-focused tenor voice, strong musicality and dynamic stage presence gave his portrayal considerable dramatic force. There was a bite to his acting that heightened the absurdity of Bramble’s acceptance and manipulation of his secret service role.

In resonant voice, Michael Leighton Jones made a suitably bluff Hawthorne, the MI6 recruiter, as he appealed in ludicrously naïve fashion to Bramble’s British loyalties. Instead of patriotism, Bramble finds greater motivation in the promise of cash. A single parent, his almost-seventeen-year-old daughter’s extravagance has kept him short. As daughter Millie, Kate Amos was a stereotypically pretty and pert Fifties blonde. Radiating youthful vitality, Amos brought a vibrant voice and personality to the role.

Elizabeth Stannard-Cohen was equally assured and in fine voice as the woman sent to support Bramble after he thrills the London office with his “discoveries” of secret weapons that look strangely like vacuum cleaner parts. The farcical element is further accentuated by the idiosyncrasies and fate of Bramble’s friend, Dr Hasselbacher. After singing the role of the elderly doctor in Stella last year, Matthew Thomas must be wondering whether he is destined for this type of role, despite his youthful appearance. Although the bottom notes of his bass baritone were at times overwhelmed by the orchestral forces, he sang with rich tone and emotional commitment, managing to mingle comedy and pathos successfully.

Baritone Stephen Marsh gave a well-projected, vocally secure performance as Captain Segura of the local secret police and Raphael Wong used his appealing tenor to good effect for the short role of Carter.

Thanks to the artistic enterprise of Lyric Opera, we have been given a rare opportunity to experience this operatic tour de force performed with skill and panache. So, make the most of it and unearth your Hawaiian shirt or frilly frock, click those Cuban heels and enjoy an entertaining evening of intrigue and laugh-out-loud black (and not so black) humour with a daiquiri or mojito by your side. Just don’t light the cigar.

 

Heather Leviston reviewed this production by Lyric Opera of Melbourne at Athenaeum 2 on September 17, 2016.

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Heather Leviston

Heather Leviston has devoted much of her life to listening to classical music and attending concerts. An addiction to vocal and string music has led her to undertake extensive training in singing and perform as a member of the Victoria State Opera chorus and as a soloist with various musical organisations.

As a founding academic teacher of the Victorian College of the Arts Secondary School, she has had the privilege of witnessing the progress of many talented students, keenly following their careers by attending their performances both in Australia and overseas.

As a reviewer, initially for artsHub, and also for Sounds like Sydney, she has been keen to bring attention to the fine music-making that is on offer in Australia, especially in the form of live performance. Heather is a valued member of Classical Melbourne’s editorial team, with her reviews of opera and vocal music valued by performers and audiences alike.

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1 event, 19

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April 30
April 30 @ 7:30 pm - 9:30 pm Event Series

Opera Australia: The Verdi Gala Concert

May 1
May 1 @ 7:30 pm - 9:50 pm

Opera Scholars Australia: Lieder to Lehar

May 1 @ 7:30 pm - 9:15 pm Event Series

Melbourne Chamber Orchestra: Fantasia

May 2
May 2 @ 7:30 pm - 9:30 pm

ASQ & Melbourne Conservatorium Students Side-by-side concert

May 3
May 3 @ 2:00 pm - 5:00 pm Event Series

Abduction from the Seraglio

May 3 @ 2:00 pm - 4:00 pm Event Series

Opera Australia: The Verdi Gala Concert

May 3 @ 2:00 pm - 5:00 pm Event Series

Lyster Opera: The Abduction from the Seraglio – Mozart

May 3 @ 7:30 pm - 9:00 pm

Melbourne Symphony Orchestra – The Soul of the Cello: Timo-Veikko Valve

May 4
May 4 @ 2:00 pm - 5:00 pm Event Series

Abduction from the Seraglio

May 4 @ 2:00 pm - 5:00 pm Event Series

Lyster Opera: The Abduction from the Seraglio – Mozart

May 4 @ 2:30 pm - 5:00 pm

Schubertiade – Heidelberg Choral Society

May 4 @ 2:30 pm - 4:15 pm Event Series

Melbourne Chamber Orchestra: Fantasia

May 4 @ 2:30 pm - 4:30 pm

Heidelberg Choral Society: Schubertiade

May 4 @ 3:00 pm - 4:30 pm

Choristry presents: When I Was a Child

May 5
May 5 @ 7:30 pm - 9:15 pm

Erwan Keravec – 8 Pipers for Philip Glass + Nat Bartsch

May 6
May 6 @ 7:00 pm - 9:10 pm

Musica Viva Australia: Hollywood Songbook

May 6 @ 7:30 pm - 9:00 pm

Melbourne Conservatorium of Music: Draevon – Between Light and Darkness

May 7
May 7 @ 7:30 pm - 9:00 pm

fortyfivedownstairs Chamber Music Festival: The Crossing Machine with Jordan Zdimirovic

May 8
May 8 @ 6:30 pm - 7:25 pm Event Series

Victorian Opera: The Lyrebird’s Voice

May 8 @ 7:30 pm - 8:30 pm

Melbourne Symphony Orchestra: Discover Sibelius – Side by Side with Melbourne Youth Orchestra

May 8 @ 7:30 pm - 9:00 pm

fortyfivedownstairs Chamber Music Festival: Violeta Parra’s Chile

May 9
May 9 @ 1:00 pm - 1:55 pm Event Series

Victorian Opera: The Lyrebird’s Voice

May 9 @ 7:30 pm - 8:30 pm

fortyfivedownstairs Chamber Music Festival: Holst – The Planets

May 10
May 10 @ 10:30 am - 11:20 am Event Series

Melbourne Symphony Orchestra: Classic Kids: Wizardry School

May 10 @ 12:30 pm - 1:20 pm Event Series

Melbourne Symphony Orchestra: Classic Kids: Wizardry School

May 10 @ 2:00 pm - 2:55 pm Event Series

Victorian Opera: The Lyrebird’s Voice

May 10 @ 4:00 pm - 5:15 pm

Jane Austen’s Music – Pemberley Revisited

May 10 @ 4:00 pm - 5:00 pm Event Series

fortyfivedownstairs Chamber Music Festival: Beethoven Marathon Part One – Beethoven’s World

May 10 @ 7:00 pm - 9:00 pm

ANAM at the Convent: Genesis Baroque with Sara Macliver

May 10 @ 7:30 pm - 9:00 pm

Choristry presents: When I Was a Child

May 10 @ 7:30 pm - 9:00 pm Event Series

fortyfivedownstairs Chamber Music Festival: Beethoven Marathon Part One – Beethoven Immortal Beloved

May 11
May 11 @ 5:00 pm - 7:00 pm

Astra Choir: In us are all passions and all vices

May 12
May 12 @ 7:30 pm - 9:00 pm

Daniel Lozakovich

May 13
May 13 @ 2:00 pm - 4:00 pm Event Series

Selby & Friends: This Mirror Has Three Faces

May 13 @ 7:00 pm - 9:00 pm Event Series

Selby & Friends: This Mirror Has Three Faces

May 13 @ 7:00 pm - 8:30 pm

Omega Ensemble: Distant World

May 13 @ 7:30 pm - 8:40 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: Opera Closets

May 14
May 14 @ 3:00 pm - 4:00 pm

ANAM at the Convent: Sara Macliver with ANAM Pianos

May 14 @ 7:30 pm - 9:00 pm

fortyfivedownstairs Chamber Music Festival 2025: Lyric Opera – Their Voices Will Rise

May 14 @ 7:30 pm - 10:30 pm Event Series

Les Misérables The Arena Spectacular

May 15
May 15 @ 7:30 pm - 9:00 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: Beethoven, Cherny and Liszt Piano Duets and Songs

May 15 @ 7:30 pm - 10:30 pm Event Series

Les Misérables The Arena Spectacular

May 15 @ 7:30 pm - 9:30 pm Event Series

Melbourne Symphony Orchestra: An Evening of Fairy Tales

May 16
May 16 @ 6:00 pm - 7:00 pm Event Series

Genesis Baroque with Sara Macliver

May 16 @ 7:30 pm - 9:30 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: The Institute for Enquiring Minds Presents Michael Leslie – Bach, Chopin, Beethoven, Schumann

May 16 @ 7:30 pm - 10:30 pm Event Series

Les Misérables The Arena Spectacular

May 16 @ 8:00 pm - 9:00 pm Event Series

Genesis Baroque with Sara Macliver

May 17
May 17 @ 4:00 pm - 5:30 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: Beethoven Marathon Part Two – Beethoven’s 5th and 6th Symphonies for Piano Four Hands

May 17 @ 7:30 pm - 9:30 pm Event Series

Australian Chamber Orchestra: Theremin & Beyond

May 17 @ 7:30 pm - 8:30 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: Liszt’s two piano arrangement of Beethoven’s 9th Symphony

May 17 @ 7:30 pm - 9:30 pm Event Series

Melbourne Symphony Orchestra: An Evening of Fairy Tales

May 18
May 18 @ 2:30 pm - 4:30 pm

Flinders Quartet Flinders Quartet at Montsalvat – Paavali

May 18 @ 5:00 pm - 6:00 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: A Gwen Harwood Cycle

May 17
May 17 @ 4:00 pm - 5:30 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: Beethoven Marathon Part Two – Beethoven’s 5th and 6th Symphonies for Piano Four Hands

May 17 @ 7:30 pm - 9:30 pm Event Series

Australian Chamber Orchestra: Theremin & Beyond

May 17 @ 7:30 pm - 8:30 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: Liszt’s two piano arrangement of Beethoven’s 9th Symphony

May 17 @ 7:30 pm - 9:30 pm Event Series

Melbourne Symphony Orchestra: An Evening of Fairy Tales

May 18
May 18 @ 2:30 pm - 4:30 pm

Flinders Quartet Flinders Quartet at Montsalvat – Paavali

May 18 @ 5:00 pm - 6:00 pm Event Series

fortyfivedownstairs Chamber Music Festival 2025: A Gwen Harwood Cycle

May 18 @ 5:00 pm - 7:00 pm

Corpus Medicorum & The Royal Melbourne Hospital Foundation: Concert #2 – Atmosphere

May 19
May 19 @ 7:30 pm Event Series

Australian Chamber Orchestra: Theremin & Beyond

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Our point of differenceby Editor Suzanne Yanko

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Introducing Classic Melbourne

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Speech at launch by Conductor Andrew Wailes

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