Jonathan Mills’ opera, based on the novel by Murray Bail is a depiction of the familiar beauty of our beloved eucalypts that grow numerous throughout our vast landscape. Enough to dreamily wander in. Like Ellen, played by Desiree Frahn, who vibrantly sparkles on stage, soaring above the broad, sweeping sounds of the orchestra.
Unsatisfied with her life and her dominating father Holland, played by Simon Meadows, she seeks space in the forest and stumbles on a stranger, Michael Petrucelli, sleeping in the cool shade. The familiar story of forbidden love ties the patchwork together. The scenes are always changing. Everything intentionally representing the important things that make Australia the place that it is.
This opera is painted on the backdrop of our eucalypts with discord and dissonance. It’s a beautiful expression of the part eucalyptus trees play in the feeling of home.
Experiencing the feat of this music is magical. The staging choices were a thrill. The conductor stood behind the shimmering material of the hanging sets, painted with a giant monochrome tree split into sections. From behind the scrim the baton punctuated the glib shapes in a ghostly manor, cleverly looming over the orchestra who filled the back half of the stage. Thankfully performing with no amplification, drawing us closer. Like listening for something in the scrub. Leaves gently rustling.
The complex score successfully lifted the voices, with a light heartedness consistently woven into the harmony. The stories from The Stranger were a highlight.
Eucalyptus felt like experiencing a historical moment of opera. Let’s hope there’s a new future growing and opening up, filled with more beauty like what was found in the score of Eucalyptus.
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