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by James MacMillan, directed by Katie Mitchell

Welsh National Opera, Sadler’s Wells

November 26, 2007

“A Powerful New Opera”

I often see brand new Canadian operas in Toronto, but unluckily seldom have the chance to see brand new non-Canadian operas.  Thus, the single London performance of James MacMillan’s new opera THE SACRIFICE performed by Welsh National Opera on tour piqued my interest.  The fact that it was directed by Katie Mitchell, whose Oresteia and “Dream Play” for the National Theatre were so spectacular, made it a must-see.  In the event it was a very impressive work I would gladly see again.

Librettist Michael Symmons Roberts has derived outlines of the story from the tale of Branwen as told in that compendium of Welsh mythology, “The Mabinogion”.  Rather than leaving the tale in the realm of Arthurian prehistory, he, Mitchell and designer Vicki Mortimer have updated the action to the present or near future and set it in what looks like a former Soviet or Soviet-bloc republic.  Each compact act focusses on a public ceremony taking place in the ballroom of what looks like a 1960s-style Soviet-built hotel and on the private events that precede it. 

Two unnamed peoples have been suffering the ravages of a blood-feud between them.  The General (Christopher Purves), once wounded by Mal (Peter Hoare), a ruler from the other side, wants to make peace between the two groups to end the cycle of bloodshed.  His plan is to marry is eldest daughter Sian (Lisa Milne) to Mal.  The main problem is that Sian is already in love with Evan (Leigh Melrose), though, like Elizabeth in Verdi’s “Don Carlos”, she is willing to sacrifice that love for the good of her country.  During the wedding ceremony that closes Act 1, Evan’s uncontrollable jealousy causes him to attempt to assassinate Mal. 

He is unsuccessful but seven years later in Act 2 he wreaks even worse revenge on Sian and Mal which causes the General to effect an unusual sacrifice of his own in Act 3 in a final effort to bring about peace.  It is a powerful work with both timeless and contemporary relevance.  MacMillan’s music written for a large orchestra is clearly in the line of middle period Benjamin Britten but knottier and more evenly balanced between the melodic and the percussive.  His writing for the chorus is gorgeous and the the hymn longing for peace that concludes the opera is an immensely forceful work on its own.  The singing was excellent from the entire cast.  As expected Mitchell direction was precise and highly detailed making the work compelling not just as an opera but as a piece of theatre.

©Christopher Hoile

Photo: Leigh Melrose and Lisa Milne. ©2007 Catherine Ashmore.

For tickets, visit www.sadlerswells.com.