Richard Mills, composer, conductor, and all-round classical music legend presented the world premiere of his new operatic work 'Galileo' at the Palais Theatre, St Kilda.
With a packed venue and all the excitement a Mills and December performance brings, the ambience was electric. I heard one exclaim “Well I don’t go anywhere anymore, but for Richard, well – you make an effort.” If anyone was to “make an effort” it would seem the night Richard Mills officially stepped down from leadership at the Victorian Opera would be as good a time as any. Mills is of course known for having led the company for the past ten years, and there seemed to be a sense of self-reflection in the work as we journeyed through Galileo’s life. Perhaps the questions posed by Galileo are ones Mills has asked himself. The story appeared to be the age-old pitting of religion against science with the angels versus devils guiding Galileo through life’s journey. Mills has, for the past ten years, delivered thrilling and beautiful operas and the opera of Galileo continued that tradition.
Richard arrived in the orchestra pit to rousing applause with many vocalising their excitement.
The story of Galileo from little boy to his death at the age of 70 was both haunting and beautiful. Galileo, for those who need reminding, was considered a great thinker of his time. He was a mathematician, astronomer, and Italian philosopher. Inventor of the microscope and Galilean telescope which appeared to be more the focus for this work. I wondered if this was Mills perhaps paralleling his own life through music and performance.
Image © Charlie Kinross
There were moments of Bartok-inspired percussion coupled with 'Dante’s Inferno' with the work at times feeling like a movie score, before swinging back to the Proms with the Chorus filling the venue with soaring harmonies. This work indeed felt like it encompassed many styles to create – as described by Mills – a ‘symphonic fresco’. Librettist Malcolm Angelucci delivered a touching, poetic and at times funny series of vignettes that beautifully complimented the score. From the opening moments to the end, the work seemed to pose questions relevant to moment in history. What is my purpose? Am I meant for something better? Why am I misunderstood? How did it all go by and happen so fast?
The work opened with Piccolo Galileo performed beautifully by Herbie Cox. One might imagine it could be overwhelming to be on stage performing such a big work, but Cox delivered a performance with angelic vocals that were perfectly complemented by the Chorus. Samuel Dundas delivered an outstanding performance as Galileo. It was here that I felt set design and costume were a missed opportunity. Samuel portrays Galileo for his entire adult life but there is no real wardrobe change of any kind to indicate the passing of time. That said, Dundas is a big talent with a big voice, that held the production together.
Stand-out performances included Simon Meadows as Papa Paolo V and the children’s ensemble including Genevieve Gray, Ruby Streit and Tahlia Walker who are surely rising stars to watch. Stacey Alleaume was incredible, performing from the balcony wing. In the final act the spotlight illuminated Stacey and it was as if an angel had entered the building. Her voice is incredible, and she was, in my mind, the absolute stand-out star of the entire performance.
Image © Charlie Kinross
Audience reactions were mixed, and I noticed some sitting near me leaving at interval.
The entire experience left me with a feeling that this work from Mills is brimming with potential. From the black curtain background, which could have a Lume-style experience with projections of stars and galaxies reflecting Galileo’s discoveries or a period in time. There is also an opportunity for set design and wardrobe to be explored. The idea of the stars is mystical and mythical and a set that included a model of our galaxy making full use of the stage from rafters to the floor could have given inspirational movement and action through the piece. That said, there was something about this style of performance that transported me to the canals of Venice (Italy) and “Mozart in the Jungle” where our Soprano sings from the bridge and chorus from boats.
The few who didn’t love the performance and chose not to stay to the end were far less than those who jumped to their feet at close, which dear reader – included me. “Bravo” I cried! What an achievement, what beauty! Imagine being so talented and accomplished to write such a work that inspires performance from children through to adults imagining a world from long ago that is still so relevant today!
In short, the work is wonderful, and I feel has only just scratched the surface of what it can be as an operatic piece.
★★★★★
Words: Bronwen Lane
