Land of Hope and Glory (18/6 - 3/7) ~歌劇篇~－茶碗蒸

With the name of this England tour being 「英格蘭莊園歌劇節」, or「The English Garden Opera Festival」, it would be simply unforgiveable if I did not dedicate a whole separate article on what is of course the main focus of this trip – to appreciate the mesmerising tradition of opera music and to experience first-hand the charm behind the unique "garden opera" philosophy.

According to Charlie (our tour guide and also the boss of The One Travel Agency), the tradition of holding opera performances in the English countryside initially began as an intention to enhance appreciation of opera music, which was becoming increasingly difficult in the hustle and bustle of city life. By shifting the venue outside of urban settings, and moving the commencing time of the performance forward to late afternoon, each concert encourages the audience to take more time off work and turn the trip into a special treat. This is further helped by the extension of the interval to a whooping ninety minutes in order to set aside sufficient time to relax and have dinner – whether it's a casual picnic on the sun-kissed lawns, a comfortable snooze in the elegant rows of gazebos, or a more elaborate affair in the specially set-up fine-dining restaurants with menus designed by acclaimed chefs. When you follow up all of this with a peaceful stroll through the picturesque gardens decorating the grounds near the opera theatre, it seems effortless to drift away from the suffocating stress and exhaustion that naturally gathers around the draining routines and realities of a modern lifestyle.

Coincidentally, the three opera festivals we were booked in to attend all had names that started with "G" – Garsington, Grange Park, and Glyndebourne. And it was in this order that we completed our repertoire of three operas and one musical. While these festivals may have stretched over one or two of the Summer months, each performance is limited to 500-600 viewers due to seating capacity (with the exception of Glyndebourne, the renovation of which in 1994 saw an increase of this number to just over 1000). Because of this, these festivals are often privately run and the smaller demand also allows for longer rehearsal and preparation times for the performers. When combined with a consistent collaboration with specific orchestras year after year, it should come as no surprise then that such high-calibre performances are made possible (both in terms of the musician conditions and the quality of stage production).

Garsington Opera was the first opera festival we attended, and the "L'Italiana in Algeri" was scheduled for our second evening in England. Having originally started out in1989 by a wealthy banker in a suburb near Oxford called Garsington (which is no longer its current location but the name has clearly stuck), Garsington Opera Festival's fame in England is apparently only second to Glyndebourne. The current setting of this festival is in Wormsley Estate, and the theatre itself is perhaps the most "modern" of the three festivals we attended. While this is probably due to the fact that the entire theatre gets demolished at the end of the festival and then laboriously rebuilt in the next, the theatre's majestic design that had been constructed out of steel, timbre and canvas seemed so comfortingly solid that it would have been hard to believe that the building was not a permanent fixture of the Estate had Charlie not informed us of this fact on the coach. What was also unique about this venue was the mesmerizing tranquility of a nearby pond in addition to the expected greenery and vast amount of open space. Softly glittering in the weaning sunlight, the large body of water somehow echoed well with the sparkling gold and white theme of the set and added just that final touch of magic to the pre-show excitement.

Despite what I had previously read online regarding the dress code for such garden operas that suggested a much more casual atmosphere in recent years (perhaps to attract a younger audience), the feeling I sensed as I stepped off the coach and made my way to the theatre was that opera is still a music genre for the "elite"; and having been that way for so long (at least in England), I imagine it would indeed take at least a few more years to change this perception. What primarily prompted this impression was all the immaculate tuxedos that floated around us as we neared the foyer of the theatre, and the numerous champagne buckets and canapé platters around which groups of posh-sounding people stood and chatted (this last point probably couldn't be helped I guess - all English accents sound a bit more posh than the drolls of Kiwi accent!).

The ladies' attire, surprisingly, felt a little less uptight on average. Although it was hard to miss the few glamorous figures making their presence known in sweeping evening gowns accompanied by enough tinkling jewelry to be heard fifty metres away, most of the middle-aged ladies were a bit more modest in their outfits and chose a style that differed little from what can normally be seen in a nice restaurant in New Zealand. Luckily, Dad's complete tuxedo had been handled and approved by the chain menswear shop of Moss Brothers in Oxford so he was sorted early on, leaving Mum and I scratching our heads and pouring over our meager collections to piece together outfits that hopefully did justice to our temporary "Taiwan cultural ambassador" role. More often than not, though, the items I wore were either treasures I had scored from the Takapuna Hospice Shop, or borrowed from Mum's supplies (Glyndebourne was perhaps, yet again, the exception). Although this may have put us a little out of step with some of the other more flamboyant (or just wealthier) ladies in the tour group (especially a very…special lady named after Florence Nightingale XD), I was confident Mum and I's exceptional "aura" (氣質) more than made up for this!!

As for the opera itself, "L'Italiana in Algeri" is apparently considered as one of Gioacchino Rossini's three most famous operas (along with "La Cenerentola" and "Il barbiere di Siviglia"), with this particular work written in 1813 when he was just 21 years of age - and in only 27 days! And true to its fame, what an entertaining opera it was indeed – I could only imagine how the audience's reacted when it premiered in Venice in May 1813! No doubt Rossini himself would have found it impossible to keep a satisfied smirk off his face as he revered in the howls of laughter (and creaks of corsets) behind him in the audience while conducting the opera!

As a first-time viewer of a "comedy opera" (or I think "opera buffa" is the proper term!), I admit I found the whole experience extraordinarily hilarious and a startling change from the few rather more tragic and thought-provoking operas that we had seen in Italy last year. As great as the singing was (well, as far as I could tell!), the exaggerated expression and body language of the singers (especially the ridiculously silly but also somehow loveable "bey" (Lord) Mustafa... or 白痴土番王 as 焦老師 had so blatantly concluded) were definitely a spectacular highlight for me. I still vividly remember the comical way Mustafa's jaw literally dropped when he saw the beautiful Isabella for the first time (even though everyone in the tour group agreed the actress playing Mustafa's wife Elvira - who he heartlessly wanted to marry off to his servant - was in fact a lot prettier!) and how his rhetorical duet with Lindoro made everyone double over with laughter. No wonder 焦老師 emphasized several times that the whole opera is the definition for a "笑鬧劇" XD And of course hats off to Rossini who used such ingenious and dynamic tunes interweaved with dramatic arias to portray the outrageous (and completely racist) plot twists that I was certain it was not just me who was exhausted from laughing so hard by the end of the curtain call.

Speaking of the plot, there was a "coffee-drinking" scene in the second half of the opera which was made particularly intriguing because of the background info shared by 焦老師 in the coach beforehand. Since coffee consumption had spread to Europe from the Middle East (i.e. Turkey, where the opera is set) and that it was regarded as a "Drink of Wisdom" (as, unlike alcohol, it not only helped people relax but also cleared their heads), it was a fitting activity chosen by Mustafa to impress Isabella on a "first date"... that is, if Isabella hadn't dragged his wife along too and ruined his plan!!

On a different note, I became increasingly impressed with the exceptional set design and stage production as the performance unfolded. As mentioned in the official Garsington video clip below, the fact that the opera theatre was practically transparent and that the sun set halfway through the performance meant the constantly changing natural lighting had to be taken into account when determing the overal visual effect of the performance. I must congratulate the stage production team and director on this aspect as the uneven white surface of the set succeeded in manipulating the sunlight so that it lit up the stage with a soft golden glow, yet was not at all harsh or blinding for the audience. The subtle changes to the largely immobile set in the second half was also very clever – an addition of a crescent moon in the background and lamps that gradually rose during the performance to imitate stars just as dusk fell outside in the world. Though I admit I was a little concerned on multiple occasions when I thought the performers (especially the rather plump and enthusiastic Isabella!) were at high risk of toppling over onto each other due to the slopes… an acrobatic sense of balance is a necessary requirement for opera singers too, it seems like!

As well as this video that focuses on bringing the performance of "L'Italiana in Algeri" to the audience, the official Garsington Opera website has also put out another clip that briefly explains the menu and chefs at "Feasts" – the temporary restaurant set up by the theatre especially to cater for dinner requirements of the guests who do not wish to lug around picnic baskets or brave the unpredictable English weather. And yes being Asian and accustomed to indoor comforts it probably comes as no surprise that we opted for this option! Personally I found the three-course meal tasty, but not in anyway astounding or so extraordinary that I remember any particular elements (I'm sure even the Michelin-starred Michael North would understand if I said it was because I had been too distracted by the incredible opera?). For this particular meal at Garsington, I did particularly enjoy the refreshing berry jelly dessert and of course listening to 焦老師 chattering away next to me about his always hilarious life stories (this time it was something about his dad's passion for 紅樓夢 and how he liked to grill experts on the different editions if I recall correctly) XD

If Garsington Opera can be described as "stylishly modern", then our next operatic experience at Grange Park Opera possibly fell into the category of "rustic vintage", which was intriguing particularly because the latter was founded by Ms. Wasfi Kani, a lady who had previously studied IT in Oxford before pursuing her passion for music but more importantly had actually started out in this career path as a conductor in the Garsington Opera team. Therefore Grange Park Opera had began quite a bit later than Garsington Opera - eight years later in 1997, to be exact. In its first few years, the performances of Grange Park Opera had also taken place outdoors on the grounds of the mansion. But in 2003, Ms. Wasfi Kani's superb fundraising ability saw the construction of a beautiful intimate theatre adjacent to the main building, which was where we had the pleasure of seeing Verdi's "Don Carlo" followed by Lionel Hart's "Oliver!". And perhaps because we were fortunate enough to enjoy this venue for two evenings in a row, time seemed a little less pressing especially for photos and walks around the grounds to admire the beautiful surroundings (all the groaning and grumbling at Charlie's insistence for meeting at 4pm quickly forgotten).

The historic manor in which the theatre and restaurant were situated was absolutely gorgeous - in a tragic, abandoned sort of way. Even the scaffolding and faded drapery covering the renovation work inside the restaurant seemed to whisper wistfully of a forgotten glory, which just added to the manor's mysterious appeal. The English heritage webpage describes how the mansion "owes its present appearance to the architect William Wilkins, who, between 1809 and 1816, transformed a modest 17^th century brick building into something more like an Ancient Greek temple". Charlie was also right, of course, about that majestic tree and spill of golden sunshine over the grounds – photos could hardly do justice to the breathtaking atmosphere. This was perhaps why we were extra fortunate to be there when we were, for this was to be the final year Grange Park Opera was to be held in this location (namely The Grange at Northington, Hampshire) before shifting to West Horsley Place (where the new theatre so eagerly fundraised by Ms. Kani is already well on its way to being ready for next year's festivities!). It truly was, in the most literal sense, a most worthwhile and once-in-a-lifetime opportunity.

However, if I thought the theatre and the environment were beautiful, the opera performance of "Don Carlo" could only be described as stunning. Composed by Verdi and based on the script German poet Friedrich von Schiller created, "Don Carlo" was originally in French and premiered in Paris in 1867 with five acts, but was adjusted several times until Verdi finally settled on the Italian four-act version we saw at Grange Park Opera. Fortunately reducing the length by one act did not in any way impact on its depth and breadth. The opera still followed the structure of what is known as a "grand opera" – showcasing its four key elements including elaborate stage productions, exquisite ballet dancing, and a depiction of personal conflicts against a historical backdrop (焦老師 also added that most grand operas also have two leading sopranos - in this case Elisabetta and Eboli).

What's more, even without its original first act the opera lasted a full three hours and was an intense and complicated exploration of almost every theme the audience could ask for – political scheming for the crown, religious struggles between Catholic Spain and Protestant Netherlands, and of course the tragic romance between Elizabeth, King Phillip II, Don Carlo, and Princess Eboli (…and maybe even a horror component – what with Carlo the Fifth's ghostly appearance and all!). No wonder 焦老師 claimed "Don Carlo" to be his personal favourite amongst the many Verdi operas. It was also fascinating how he pointed out that different presentations of the same script, concepts, and music often reflect the different interpretations of the work by the director and conductor. That is why – particularly for less-performed or complicated operas – it is important to grasp onto any opportunities to see them and not feel obliged to follow a "conventional order" in which to appreciate the world of opera.

While admittedly I struggled a bit from halfway through Act Two (… fine, I was getting seriously cross-eyed from all the squinting XD considering what Verdi's Aida did to me last year in Verona maybe I should consider recommending Verdi CDs insead of Unisom Sleepgels at work), the stage production did leave a very lasting impression on me (though I probably should have been more impressed by the difficult vocal and technical demands of Princess Eboli!? Clearly my brain was a wee bit more wired up with my eyes than my ears). I particularly loved how the same iron-barred gates can be manipulated to set the scene for a chapel (using hundreds of real flickering candlesticks), a prison (positioning lots of bar-clutching people behind it), or even a palace garden (arranging trees behind them and casting artificial lighting to indicate either the scene took place during the day or night). And of course no opera on this trip can be complete without a last comment from our musicologist expert… "九十歲又眼盲的大審判長在台上走那麼飛快像話嗎!!"

After the rather sobering "Don Carlo", seeing the comparatively light-hearted "Oliver!" the following evening at Grange Park felt almost like a welcome break. "Oliver!" is, of course, an English musical based on Charles Dickens' classic novel "Oliver Twist" that was first published as a serial from 1837 to 1839. Having premiered in the West End in 1960, "Oliver!" and its music by Lionel Bart has enjoyed a long run of success worldwide, including on Broadway and an adaptation into a musical film in 1968. However, what was most exciting about this particular performance at Grange Park (apart from the fact that it's in English – no more neck-straining to follow the subtitles!) was that the villain Fagin was to be played by the famous British baritone singer Simon Keenlyside.

Although Keenlyside did not start out with extraordinary talents in singing, nor had he always intended to pursue opera as a career (even going as far as completing a degree in zoology at Cambridge University!), he clearly made up for these with incredible determination and sheer hard work in both singing and acting skills. It came as no surprise, then, that his Fagin at Grange Park turned out to be quite remarkable. Despite the previous false advertising (on Charlie's part perhaps) regarding the fact that the complete musical was to be staged without microphones, the proximity of our seats to the stage meant that every intake of breath, as well as every fleeting change in their expressions, was as clear as if they were in slow motion. And even though all the child performers were outstanding (especially the boy who played Artful Dodger – his "Consider Yourself" was so cheeky that the song was the one I caught myself humming on the way back to the hotel), Keenlyside's stage presence and body language spoke volumes about his years of experience on stage (my only disappointment was perhaps that his make-up stayed a little too true to his character as the leader of a band of street pickpockets – I was half-expecting him to look as dazzling as the souvenir postcard we saw outside!! …如此證明我果然是大叔控嗚嗚).

Needlessly to say, the set designs for this production were once again astounding (especially Fagin's attic where there was enough space in the set itself for 7 or 8 boys to scuttle in and hide!), and the full set of accompanying orchestra in the pit was apparently another rare sight when it came to musicals. What I found most memorable, though, was the song "A Fine Morning" - a scene that brought a busy main street in a township to life. How they thought of layering the singing parts starting with a milkmaid standing at the back of the theatre, followed by another girl selling roses on a balcony above us, before joining the others on the stage was beyond me – but the effect was both a clever involvement of the audience that made full advantage of the intimate theatre space as well as an effective build-up from a sleepy morning to a magnificent climax.

Although watching starved orphans onstage was not perhaps the best way to stir up an appetite, our dining experience in Grange Park was nonetheless a fascinating one. While the dinner on our first evening was enjoyed in the indoor restaurant as usual (lovely lamb and minted peas – positively English!), we had the wonderful opportunity of trying out one of the gazebos in a "mock picnic" on our second evening. Interestingly enough, this supposedly modest way of dining actually felt a bit more like a fancy fanfare in comparison to the set-course menu. Although it took a while to distribute the platters of pre-ordered dishes, the point is that most of these dishes had names that did not belong to what I had preconceived as "picnic food" - half a lobster for each person, some fresh drops of mozzarella, beef carpaccio sprinkled with parmesan and… champagne?! Don't get me wrong, all of the above tasted amazing (save the cold stale bread – not so sure about that). But call me unappreciative if you will, I caught myself thinking (while chewing away at a corner of the rock-solid boule as elegantly as possible) that with the money that no doubt went into such a luxurious selection it would have made more sense perhaps to opt for a more substantial quantity of normal picnic food – sandwiches, fresh salad, perhaps some fresh bread with a variety of spreads and dips, or even some savouries and cheese with crackers (oops that's clearly the kiwi side coming out)? However, we were in the same table as Mr.燦坤 (who becomes rather generous in sharing funny stories with the help of some wine, as we soon discovered) so the pleasant company and mood, at least, made up for the "Food Glorious Food"!!

Finally, our last night with the tour group saw our arrival at the opera festival that has enjoyed the greatest fame and the longest running history in England – Glyndebourne Opera located on an estate near Lewes in East Sussex. Ever since John Christie, an English aristocrat and schoolmaster at Eton, and his opera singer wife Audrey Mildmay first founded the festival in 1934, Glyndebourne's reputation as both a musical gem and a pioneer in the English Garden Opera tradition has done nothing but grown. Indeed, it was Christie who highlighted the overruling importance of music appreciation (that later became embodied in the garden opera philosophy) right from the first season. His announcement that they were "not interested in names" of singers suggested that those who were chosen were the best for their parts, and not necessarily the best in their fields. But more than that, it was Christie who set the bar for a new standard of operatic performance – one achieved by endless rehearsal and concentration on detail including in the orchestra, singing, the acting, the scenery and the costumes – all within the constraints of private funding such as box-office takings, proceeds of the catering operations, and sponsorship in the form of annual subscriptions as a member of the Glyndebourne Festival Society. Thankfully all these efforts had clearly not been made in vain – why else would the theatre undergo almost yearly alterations and extensions to gradually expand from its original capacity of 300 to its current 1200?

Needless to say, besides Glyndebourne's fame, its apparently higher standard of food and gardens (the latter of which we never had sufficient time to enjoy due to congested traffic!) and the obvious tripling in audience numbers compared to the other two festivals we had just attended, there were a number of other factors that made the night so memorable for me. The first of these was the theatre. More specifically, the breathtaking auditorium "which has been crafted out of century old pitch pine. A traditional horseshoe shape, the wood has been fashioned into elegant curves, and with the help of myriad small lamps gives off a warm glow." …Considering I was completely lost for words when I stepped inside (and am still struggling now to do the auditorium justice with my humble words), I am simply going to leave you with this beautiful description taken from the Glyndebourne Opera website and allow some room for the imagination to roam. The aesthetics of the auditorium at Glyndebourne is not its only strength, however, for even in the absence of La Scala's intimidating grandeur - with its soaring chandeliers and lush theme of red and gold – Glyndebourne exhibits an apparently classic design with a modern twist in practical considerations such as sound acoustics to the seating placements. Such innovative features have not only earned its architects much recognition, but have noticeably improved the viewing comfort and further enhanced the festival’s popularity and prestige. All in all – I believe the theatre itself plays a significant role in Glyndebourne and it is worth every penny to personally experience its awe-inspiring essence, no matter how difficult it is to get your hands on a ticket!!

The second surprise of the evening was, in fact, the elegant gentleman who I had the pleasure of sitting next to for the duration of the opera performance. Although he was with a group of company himself, I assumed he must have noticed my bewilderment as I sat alone in my seat gaping at the fantasy around me (most of our tour group members were split up since tickets were so hard to get, you see). But then as we began chatting, I discovered that he was probably more curious about how a young girl like myself managed to buy the ticket he apparently returned due to a friend’s last-minute bail out, and came to be sitting alone amongst the wealthy prestigious figures from the finance and banking circle (which was apparently what made up the majority of Glyndebourne's audience – not sure if he meant that evening or the front stall section in which we were sitting!). With both of us in our best dress in an elegant opera theatre, and with the murmurs of English accents all around us (only one way in our conversation though unfortunately – mine was even tentatively mistaken for an Aussie accent! Shock horror), it was easy to let my imagination run away again with a fantasy that I was somehow attending a fine evening of entertainment "in society" in one of Jane Austen’s novels… Though of course with the gentleman being in his sixties, there was not much of a fantasy in the romantic regard!! He was absolutely lovely though, and so generously sharing his knowledge that ranged from the Glyndebourne Society and his inheritance of its membership from his father, to his later plans for a picnic outside. Nevertheless, I was pleasantly surprised when he gave me his business card with a handshake at the end of the performance. I glanced down slowly (all the while praying I had not just made a fool of myself in front of the UK finance minister or someone of equal rank) - Mr. A. Douglas, thank you for some wonderful conversation and insight into the festival at my first Glyndebourne experience! I do hope we meet again :)

The third highlight of the evening was, of course, the opera "Il barbiere di Siviglia" itself. As for "L'Italiana in Algeri", "Il barbiere di Siviglia" was again written by Rossini in the traditional comic “opera buffa” style; and again completed when Rossini was at an incredibly young age (in 1816, when he was just twenty-four years old) and within an equally astonishing timeframe (thirteen days!). The storyline of the opera, however, had been adapted from a play by French author C. de Beaumarchais (c. 1732-1799), which was in turn the first part in a popular trilogy (the other two being "Le nozze di Figaro" – now also a popular opera thanks to Mozart – and "La mere coupable"). Just like how "L'Italiana in Algeri" openly mocked the themes of gender inequality and racism, "Il barbiere di Siviglia" was again filled with theatrical satire and its light-hearted arias sugarcoated an open accusation at the questionable privileges enjoyed by the upper social class. I do admit though, the series of ridiculous and far-fetched disguises the duke Almaviva used to successfully win the hand of Rosina was definitely entertaining enough to keep my mind off the deeper layers of discontent simmering below the surface – not to mention that all the lead performers were actually very pleasing on the eye (somehow I've come to think this is a rather rare occurrence in opera)! It was also interesting to note that the lady who sang Rosina – Danielle de Niese – is, in fact, the wife of the current director of Glyndebourne; her connections were surely not relevant to her presence on stage though, for her acting had just the right amount of passion and mischief that spiced up her character. I was however most impressed with Alessandro Corbelli – the man who played the part of Dr. Bartolo. What an incredible voice that complemented his convincing expressions and commanding stage presence! (I may or may not have snorted with laughter when he was frantically trying to find something in the giant storage cabinet and the audience was treated to glimpses of an array of outrageous contents behind each door - a real person’s face, or a flood of paper that showered on Dr. Bartolo before he slammed the door shut!) Socially privileged or not though, having this opportunity to experience Glyndebourne in flesh and blood was an honour to say the least, not to mention a new production such as this year's "Il barbiere di Siviglia" …it felt like a dream that I never quite wanted to wake up from.