22/09/2019
Enthusiastic review of *Vagabones* by Dick O'Riordan, Sunday Business Post, 22nd September:
Killer kiss from 1661 leads to a fine modern opera
Vagabones
By Raymond Deane
Opera Collective Ireland
Civic Theatre, Tallaght
Ireland has always had a plentiful supply of banshees and poltergeist, but our supply of witches down the years has been meagre to say the least. Kilkenny’s star performer, Dame Alice Kyteler grabs most of the attention for her elimination of three husbands, but was she a genuine witch or just a black widow?
On the other hand, the witch trial on which Raymond Deane has based his contemporary opera Vagabones – a reimagining of Emma Donoghue’s play Trespasses – has genuine provenance in regard to the 1661 trial of Florence Newton, a 65-year-old spinster from the garrison town of Youghal in Cork.
Apparently, this event was so notorious that it was cited during many subsequent English witchcraft trials. Basically, the evidence was that Newton could kill with a kiss. One witness swore she had vomited needles, pins, horse nails and wool after receiving a little peck. One of the “proofs” of her guilt was that she could not recite the Lord’s Prayer properly.
Deane, a diehard avant-gardist and political activist, boiled down the storyline to three successive days of action that captured the harrowing injustice involved. The composer cleverly wove fictionalised storylines – analogous to modern situations – into the narrative depicting duplicity and blatant self-interest until the poor woman’s fate was sealed.
Irish Opera Collective can justifiably claim to have notched up another admirable success. Since its formation half a dozen years ago, it produces a single annual opera under artistic director Colette McGahon. Vagabones marked an unexpected change of genre, but IOC has lived up to its promise of providing a potential launchpad for top young Irish singers on to the great stages of Europe.
The male castings of Rory Musgrave, Rory Dunne and Ross Scanlon were spot on in all regards. Carolyn Holt, a mezzo-soprano of outstanding ability, captured the plight of Newton effectively, while soprano Kelli-Ann Masterson did well in a somewhat incongruous trousers role. But it was the performance of soprano Sarah Power as main accuser Mary Longdon that really gripped attention with the quality of her high-pitched, but never strident, singing: Deane does not spare sopranos. Her subtle acting was also admirable.
In truth, subtitles would have helped throughout, particularly in assisting a fine libretto by Renate Debrun. Music may matter most in conventional opera, but in this relatively new and thriving contemporary style, sharp dialogue also works wonders.