By Sara Hill, Final Year Spanish and Italian
Opera in a Box is a touring opera company based in the South West that strives to introduce people to the versatility and relatability of the art form, as well as appease opera-lovers with their innovative and professional productions.
This mantra was explained in a pre-show introduction talk at the Alma Tavern, and it was clear that the venue supported this statement. People were enjoying their drinks in the intimate setting and the pub environment leaked into the theatre creating a social, collective atmosphere for the audience.
Mozart and Salieri is just one of the 4 operas included in Opera in a Box’s operatic experience Selection Box. The series acts like a box of chocolates, you never know what you’re going to get.
I was lucky enough to get Rimsky-Korsakov’s Mozart and Salieri, which was directed by Thomas Wood and Charlie Morris. The pair also interpreted the roles of the two iconic protagonists: Mozart, a free-spirited, naturally-talented classical composer, and Salieri, a bitter, under-appreciated one. The opera tells the story of Salieri’s jealousy, and his eventual poisoning of Mozart, the same plot of Pushkin’s play written in 1830 and Forman’s 1985 film Amadeus.
The series acts like a box of chocolates, you never know what you’re going to get.
Charlie Morris’ performance as Salieri was highly commendable as his diction and interpretation were extremely successful in commanding the stage alone and keeping the audience engaged with the menacing monologue of his hostile character.
However, it is possible that Thomas Wood’s vocal ability overshadowed this as his rich, vibrant tenor timbre combined with an unflappable technique and intonation to illustrate Mozart as a fun-loving, charming individual.
Moreover, though stepping into Mozart’s shoes as a pianist is no mean feat (or in this production’s case, stepping into the composer’s iconic red tails) it was a joy to listen to musical director Richard Johnson’s professional accompaniment of the opera as he allowed musical references, jokes and drama to inconspicuously seep into the performance.
The costumes reflected the modern setting of the production and impeccably portrayed the contrasting personalities of the protagonists. Salieri was dressed in a formal, old-fashioned suit demonstrating his traditionalism and Mozart was in the guise of a hippy with the perfect beard, beany, and cardigan to match. Moreover, the props were extremely innovative and accompanied the ongoing theme within the production that reflects our tech-savvy, social media-obsessed society: that to be the best, you have to keep up with the times. Whilst Salieri uses manuscript paper and pens, Mozart plays music off of his laptop.
I would say that the inventive staging reached its pinnacle after the poisoning took place. Salieri listens to Mozart’s astonishing Requiem through headphones on a dark stage, solely lit by sinister red lighting. Phil Vivash’s lighting was also extremely effective as Salieri’s desk was covered in a purple haze, and the changing of scenery was not in total darkness, but a piercing blue light, encouraging the audience not to lose focus as the singers, staying in character, set up a dinner table.
Overall, this one act opera was presented in an innovative, accessible way, acting more like a play to investigate the contrasting personalities of Mozart and Salieri. The musicality and acting were very admirable and the inventive directorial vision was vividly brought to life on stage by a professional, tight-knit cast of three. I would recommend this production to anyone who was even remotely considering watching an opera thanks to company’s accessible, but nevertheless professional execution of Rimsky-Korsakov’s lesser-known masterpiece.
★★★★
Featured image: Stuart McPherson
What did you think?
