The Mahler Players: Wagner: ‘Siegfried’ Act 3

Strathpeffer Pavilion - 03/12/23

The Mahler Players | Anthony Negus, conductor

The Mahler Players are one of Scotland’s best kept secrets. Founded by Tomas Leakey in 2013 they perform as a chamber orchestra. As well as concentrating on the music of Mahler, and commissioning new works, since 2017 they have also focused on the music of Richard Wagner. This has included the complete Act1 from ‘Die Walküre’, Act 2 from ‘Tristan and Isolde’ and substantial sections of music from ‘Götterdämmerung’, ‘Parsifal’ and ‘Tannhäuser’. They performed the previous night at Inverness St Andrews Cathedral, followed by this matinee the next day at Strathpeffer Pavilion. The Pavilion in this charming Victorian Spa town was constructed in 1881 with the discovery of the healing waters and is based on the architecture of Baden- Baden. Developed by the Cromartie Estate which was inherited by The Duchess of Sutherland and later the countess of Cromartie, who realised the potential of the northern most spa town in the UK. The Pavilion is the only surviving building of the original complex and echoes the popular German design of Wagner’s Bayreuth Opera House. It hosts popular entertainment as well as events and weddings. Acoustically excellent, with wood clad walls and with a seating capacity of 3010, it is a perfect venue to experience music in a cosy and intimate setting. No ridiculous lavish scenery to distract, no peering from up high, just pure music and song.

I must confess I am not an Opera specialist. I play piano and sing badly and come from a professional dance background. So at least I can tell whether the singers are out-of-tune, act badly or not in sync with the orchestra. I have produced Opera so I can tell a good performance from a dodgy one. But I love the theatricality of it. Much like I love Kabuki. Yesterday in the snowy highlands, and with temperatures at minus 9, this was a special afternoon. I remember some fifty years ago when we were first married sitting in front of our very small colour TV enjoying the whole of the Ring Cycle. No recording or fast forward were available. Other than that, I sort of enjoyed ‘Das Rheingold’ at the Royal Opera House but distracted by naked Rhine maidens. (Why do Opera Singers have to take their kit off? Don’t get me on exploitation!) Thankfully, this concert version concentrated on the glorious music and outstanding vocals. The re-orchestration by Mathew King suited the Mahler Players perfectly. Under the baton of Anthony Negus they enabled the audience to clearly hear the smaller combinations of instruments as well as rising well to the huge climatic passages. The score tells the story as much as the words.  Sadly, Sir John Tomlinson had a cold and was unable to perform as der Wanderer. However, his role, as explained in the introduction, was taken by Paul Carey Jones who had flown up for the show. I can imagine the drama, but singers’ voices are their instrument and must be protected at all costs.  Having sung the role in 2022 for Longborough Festival Opera he fitted the bill with a magnificent opening salvo as he dramatically entered the pavilion from the rear door. It certainly shook the audience awake. Nobody does the opening of an act better than Wagner and the Mahler Players rose to it. The string section being particularly strong, and vigorous conducting by the wonderful Anthony Negus drew the audience into the story. I had taken along a couple who had never experienced Opera before, and it certainly registered with them. Hearing an orchestra live and so close is a special privilege. Then along came Erda, rising from a prone position and beautifully sung by Rosanna Maydylus. She has a smooth, glorious, and calm voice. Thankfully, she wasn’t naked, as played by some ageing old dancer in the ROH current production. (don’t get me on exploitation again!) She was a class act. Then on leapt Siegfried, sung by Brad Cooper. I always think the tenor part is difficult. He always has a lot to sing and must bring character and brio to the audience expectations. He did a great job, and his performance was full of explanation, reaction, and energy. Finally, Brünnhilde entered the story, sung by Lee Bisset dramatically and in full voice she exemplified everyone’s expectations of the role. Her love struggle and final singing with Siegfried to the glory of love brought this unexpected afternoon delight to a close. One niggle, the English captions were a bit too small for older eyes, but I enjoyed reviving my schoolgirl German.  As we struggled home through the snow and ice, I reflected on how fortunate we are in The Highlands to have this orchestra dedicated to this magnificent music.