Opera North: Do Little Greats Grate A Little?

A new comer to the grandest of art forms, Opera, recounts his feelings after the first of Opera North's Little Greats series: L'enfant et les sortilèges and Pagliacci.

Opera, opera oh dearest opera! Where shall I start?

It has, by my own admission, been one of my more enduring challenges, understanding, enjoying and relating to all things operatic.

As I have said before I am, first and foremost, a man of musical theatre / drama and, at the last count, had reviewed something nearing 500 productions of varying types, many of which usually feature a cast prepared to burst into song at the first opportunity, and invariably about anything from the sunrise to the leading lady's new frock!

But opera? They burst into song from the first off, don't use microphones, seemingly enjoy tragedy and have more than their fair share of death by consumption, usually in a Parisienne garret! I think it is fair to say the two are different!

So, it was with some trepidation that I made my way to Leeds Grand Theatre on Saturday and Opera North's 'The Little Greats' festival of short operas, designed to create emotional experiences for everyone; opera aficionados as well as first timers.

It was a double bill, the 75-minute Pagliacci (Clowns) followed by Ravel's French offering, L'Enfant Et Les Sortileges, a mere snip at 45 minutes.

Firstly, 10 out of 10 to Opera North; a wonderful idea and a great way of introducing a new audience to this aspect of the arts. The audience is very, very different; more tweed jackets, older people and, without doubt, they laugh at a gentler humour! Demographically a marketer would sell them Gardeners World, National Trust membership or an afternoon at the Ham and Friends wine emporium in Leeds's Grand Arcade!

But are you sitting down? I came out of L'Enfant Et Les Sortileges thinking, 'I quite enjoyed that!'. Please, do not be too surprised. It was beautifully staged with an amazing set and costumes and I continually had flashbacks to February 2015 and Matthew Bourne's production of Edward Scissorhands, largely because of the striking similarities in styling and pastel colours.

I think Opera North is on to a winner if it sticks with this concept. I could write about the joy of these two shows - the first one was beautifully staged but was less appealing - but I would rather write about what this amazing company is trying to do.

They are seeking to bring a new audience to opera otherwise, like so many other things in life, it remains the preserve of a select few and, even worse, slowly dies. Amateur G&S companies have gradually witnessed a fall-off in audiences for Gilbert and Sullivan and, unless there is new blood in anything worthy, something dies and, amateur or professional, trends filter through to the next level or, in this instance, the Box Office.

As someone who genuinely tries to engage with opera I would like to see Opera North go one step further:

I would welcome pre-talks in the run up to opening night. I want to hear from the musicians, the players, the academics who know about the composer. I want to know about the historical context in which the opera was written and then I want to see it. At that point, I would be more prepared to enjoy, maybe even love, something that, hitherto, had been alien. Therein lies the new opera lovers.

There, got that lot off my chest.

Overall, I enjoyed my Saturday night at the Grand and I think my continuing education is beginning to produce results. I even want to go and see the other four 'mini' productions, so, well done Opera North, you are beginning to penetrate this opera numbskull; apologies in advance!