Whilst Welsh National Opera’s new take on The Magic Flute might leave most befuddled, their grand new work looks at Wales’ deep sense of tradition, alongside our daring departures and liberation. Blaze Of Glory! mirrors WNO’s own humble beginnings, with the tale of a south Wales choir on the rise.
In this story lies the fate of many ‘glees’ who excelled in Wales, resulting in grand tours and recordings. This score for this world premiere by David Hackbridge Johnson makes the whole encounter fun. Alongside the Welsh hymns is a broad palette of lindy hop, jazz, tango, soul and spirituals – even a hefty dollop of yodelling, thanks to a subplot, with cheekily comedic results. There are also moments of Britten and Stravinsky and direct quotes from the likes of Handel.
Blaze Of Glory! has the feel of a Richard Curtis film: the underdogs rising up and getting their day, spirits being dashed before faith finds a way. It feels by the numbers, yet the chorus as ever make this their own. It was only ever going to be a shining monument for WNO, and they deliver with a large male choir in particular, though some female leads and the trio of doo-wop ladies are also highlights. Jeffrey Lloyd-Roberts commands as Dafydd Pugh, unwilling to get the choir back together after a mining disaster years prior. Spurred on by Emlyn (played by an effortless Adam Gilbert), this male voice choir is born anew.
It’s fairly safe territory to watch this in the Welsh capital: not so much a history lesson as a proud reminder of our current culture. Wales being the land of song has never been disputed, and a sense of pride should come from this show. Even Paul Robeson is referenced, the singer’s love for Wales unbounded; to hear his voice in speech and song remains a lump-in-the-throat moment.
An authentic male voice choir do appear in the entrances to the stalls, though carted on only for the big moments and thus underused. The whole opera is about them and their spirit and to not even have them on stage for the rousing finale felt like a massive misstep. The libretto of Emma Jenkins makes use of Welsh points of reference, but its silly, chirpy humour is a swing and a miss, aside a dubious rhyming scheme. An alleged gay subplot between two characters is so understated, there is ultimately no real reason for it to be in the show.
It is in the scenes when the chorus dazzle – their rehearsals, or their outstanding stint at the Eisteddfod – that Blaze Of Glory! comes into its own. Rebecca Evans as Nerys Price has still got it: her sharp voice and bubbly stage presence never waver and left this critic happy to see her on the stage again. Themba Mvula as Antony added fun and vitality, the choir happy to have him as a diverse member, and eccentric Bryn Bevan, the aforementioned yodeller, is tackled by Feargal Mostyn-Williams’ fine comedic timing and shrill falsetto.
Caroline Clegg, as director and choreographer, moves the chorus around swiftly; the production is decent, filled with bunting, front doors, pit wheels and an upright piano for Evans to pretend-play on. Designer Madeleine Boyd leaves breathing space for the mass of people on stage, and the detailing to mid-1950s fashion and furniture is noteworthy. The average-sized orchestral ensemble in the pit sound a lot larger then what is seen – conductor Stephen Higgins happily throwing himself into the score, bringing Johnson’s curious music to life.
If this is a typical story in many respects, with few surprises along the way, it’s the joy of singing that fuels Blaze Of Glory!’s most glorious moments.
Blaze Of Glory!, Wales Millennium Centre, Cardiff Bay, Fri 10 Mar
Also on Tue 14 and Sat 18 Mar. Tickets: £17-£76.50. Info: here
words JAMES ELLIS
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