Metamorphosis review: Opera turns Kafka's work into musical language of delirium
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Against these solid utterances the instrumental ensemble, all adroitly co-ordinated by conductor Paul Fitzsimon, fragments the musical fabric with a vocabulary of fantastic slides, sounds and gestures, as though a well-constructed psychological self has been dismantled and disoriented.
As Gregor, Simon Lobelson’s performance is a vocal, theatrical and athletic tour de force as he projects a clean, well focused and rounded sound, all the while crawling under the bed, scaling walls or hanging upside down from the chandelier.
Stepping into the role to replace an ailing Julie Lea Goodwin, assistant director Tabatha McFadyen performed the role of Greta – Gregor’s initially supportive, subsequently rejecting sister – with persuasive dramatic intensity, singing this complex part with impressive confidence belying the 48 hours notice she had to prepare it.
As the father who exploits and then supresses Gregor, Christopher Hillier created a dominating paternalistic persona, singing with rounded depth and fortitude and projecting resonant confidence.
Taryn Fiebig as the mother sang with a clear brightness of sound while creating a character shattered by conflicting loyalties and love.
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