The Stage

Dream Hunter

Published Friday 3 February 2012 at 12:30 by Graham Rogers

An established and respected English composer, Nicola LeFanu has six previous operas to her name. The latest, Dream Hunter, is a chamber opera written with librettist John Fuller. Commissioned by specialist contemporary music conductor Odaline de la Martinez, it was first produced last year in Wales. These are its first English performances.

An atmospheric instrumental introduction instantly evokes the warm Corsican climes of the opera’s early 1900s setting, almost transcending the wintry draughtiness of Wilton’s Music Hall. The eerily entrancing mood, recalling the sinewy ambience of Britten works such as The Prodigal Son, is consistent throughout the 50 minute work - but the impact of the story, exploring the enforced seclusion of women in a male-dominated society, is hampered by paucity of dramatic drive. Of the four singers, Caryl Hughes makes the greatest impression as unambitious housewife Angela. Her beautifully sung soliloquy has a powerful sincerity which none of the others match. Charmian Bedford’s song-bird trilling is beguiling but, other than her vision-possessed frenzy, she has little presence. Brian Smith Walters lacks the hot-blooded charisma of womanising gambler Sampiero, most obviously in an incongruous Pavarotti parody. Musically, the singers are impressively assured in LeFanu’s gratefully lyrical lines.

The most compelling theatrical experience of the evening comes from the excellent musicians of contemporary ensemble Lontano. Besides providing secure accompaniment, they display extrovert flair in the improvised elements of Annea Lockwood’s Monkey Trips - a short semi-staged work on Buddhist ideas which precedes the opera, demanding not just instrumental performance but movement and animal vocalisations from the players. It is brought off with a lively confidence that contrasts with the opera’s self-conscious restraint.