Acrobats, trapeze artists and innovative scene changes were visual treat

DESPITE being the most popular of Czech operas and being full of recognisable tunes, Smetana’s opera, the Bartered Bride, is not so frequently performed and comes as a welcome delight to those seeing it for the first time.

It’s a case of “so that’s where this tune comes from...”, the familiarity stemming from the opera’s overture which is often played in concert programmes.

The overture in this instance is skilfully employed in setting the scene — the hustle and bustle of preparations for a celebration taking place in the village hall, with entries and exits of various characters.

Meanwhile, the vicar comically conducts along to a new recording of the music being played on the community’s gramophone.

The opera is essentially a romantic comedy, yet there are surprising emotional depths, too, delivered through passionate arias and duets juxtaposed among the joyful, light-hearted dance numbers.

Indeed, the most memorable scenes are based around the wonderful singing and choreography (Darren Royston) displayed by the chorus, as in the furiant, skona and range of different polkas.

A particularly clever routine takes place in the local bar, with a sequence of early Sixties jive routines co-ordinated with polka rhythms and interspersed with sections of balletic waltz music.

Another highlight comes at the beginning of the third act and involves a colourful circus number performed by accomplished acrobats, jugglers and trapeze artists, synchronised with the frenzied Dance of the Comedians music.

The plot centres on the struggles of the central characters, Marenka (Pumetza Matshikiza) and Jevit (Oliver Johnstone), who are betrothed yet face challenges, deceit and heartbreak along the way before things finally work out for them.

The setting, originally a Czech, rural village, has been moved to England during the Sixties, with past English traditions, such as dancing around the Maypole (on-stage) playing a key role in the festivities. Despite this transposition, the opera is performed in Czech. Matshikiza has a remarkable voice with glorious top notes, particularly evident in her heartfelt outpouring of “Ten lasky sen” (That dream of love). Johnstone is a good match and the voices blend beautifully in their duets together.

Another fine voice is that of David Ireland who plays the part of devious businessman Kecal, who plans to marry off Marenka to the son of a wealthy businessman. Elsewhere, the other characters are also excellent, notably that of John Findon’s stammering Vasek and the illustrious Yvonne Howard as Marenka’s mother, Ludmila. As is to be expected with Garsington, there are visual treats in store.

The scene changes are innovative and seamlessly merged into music and storyline — the set change between the community hall in the first act into a public bar for the second act was remarkably slick, receiving well-deserved applause.

The production, originally by Paul Curran and revived by Rosie Purdie, is undoubtedly enhanced by the superb playing of the philharmonia.

Under the direction of Jac van Steen, they capture entirely the earthy, full-bodied spirit of the rustic dances, yet also accompany the singers with warmth and sensitivity; always fully present yet never obtrusive. This is a first-class production all round and runs until Sunday.