Eire Wexford Competition Opera 2026 [2] – Prokofiev, The Gambler: Soloists, Dancers, Refrain and Orchestra of Wexford Competition Opera / Valentin Uryupin (conductor). O’Reilly Theatre, Nationwide Opera Home, Wexford, 24.10.2026. (RB)
The second opera to characteristic at this yr’s Wexford Opera Competition was Prokofiev’s The Gambler. Like most of Prokofiev’s operas, this work has not been staged as typically accurately. It’s Prokofiev’s first mature opera. The composer tailored the libretto himself from Dostoyevsky’s novella of the identical title. The work was initially scheduled to premiere at St Petersburg’s Mariinsky Theatre in 1917, however the manufacturing was cancelled and the opera didn’t see the sunshine of day till 1929. The opera focuses on a number of key themes together with monetary desperation, romantic obsession and compulsive playing.
Prokofiev abandons arias and set-piece numbers within the opera and as an alternative follows Mussorgsky’s lead by utilizing speech-inflected declamation. The rating options driving motoric rhythms and always shifting textures within the orchestra. Lots of the characters within the opera (and certainly in Dostoyevsky’s authentic novella) are Dickensian caricatures. Prokofiev makes use of angular melodies and biting dissonant harmonies as an example the grotesque components of their characters and to intensify the satire.
The opera takes place within the fictional spa city of Roulettenburg. Alexei is a tutor to a Russian common’s household and is passionately in love with Polina. Polina asks him to pawn her jewellery so she will be able to repay her debt, however he gambles the cash away. The Basic himself is drowning in debt and hopes for an inheritance from his rich aunt, generally known as Grandmother or Babulenka, in order that he can marry the gold-digging Blanche. Babulenka unexpectedly arrives in individual, and she or he gambles recklessly and loses a fortune destroying the Basic’s hopes of inheritance. Blanche ditches the Basic and the household’s monetary state of affairs collapses. Polina reveals to Alexei that she had been determined to repay a debt to the Marquis. With a purpose to show his devotion, Alexei returns to the on line casino and wins an enormous sum. He provides to provide Polina the cash she must repay the debt, however she rejects him by throwing the cash in his face.
Ivan Popovsky’s manufacturing units the opera in an absurd Alice in Wonderland two-dimensional fairytale world. The set and costumes have been all in monochrome black and white. A lot of the solid wore white costumes and a few of the males wore prime hats and the women extra modern summer time hats. The exception was the Babulenka who was dressed all in black, marking her out because the depraved fairy on this story. Maria Tregubova’s units have been disappointing; they consisted of minimalist painted background constructions with the phrases ‘On line casino’ and ‘Resort’ written on them. The big cardboard leaves and chandeliers which adorned the set have been like elaborate pencil drawings. The set appeared to get more and more darkish within the second half of the opera and pink colors began to seep into the monochrome world.
There have been a number of hanging results within the manufacturing together with the usage of flashing lights to sign the arrival of Babulenka’s coach, and the whisking away of the demented Basic on a pink carpet on the finish of the third act. The on line casino scene within the closing act was significantly ingenious. The solid have been assembled round gaming tables and dancers from the Wexford Faculty of Ballet whirled round in black and pink tutus; this was an imaginative and efficient illustration of the roulette ball revolving across the wheel. The dance actions have been asymmetrical, reflecting the random nature of the sport. Big roulette balls additionally appeared to seem on the stage out of nowhere, seemingly by likelihood.
I favored Popovsky’s idea and the thought of inserting Dostoyevsky’s gallery of grotesques on this monochrome world. It underlined the absurdity of the state of affairs and the truth that most of the characters had turn into hooked on consuming drives they have been now not in a position to management. The irrational obsessions and unpredictable actions of those characters one way or the other belonged extra to this very synthetic setting. Nonetheless, there was scope for the manufacturing group to develop the idea in additional imaginative and attention-grabbing methods.
Ukrainian tenor, Taras Prysiazhniuk, was wonderful within the central function of Alexei. He clearly has star high quality and commanded consideration each time he was on the stage. He did an outstanding job depicting the obsessive and erratic sides to the character within the early components of the opera whereas within the closing act he appeared to be within the grip of a manic delirium as he went on his profitable spree. He had a superb rapport with Sophie Gordeladze’s Polina and it was fascinating to observe the event of their turbulent and fractured relationship. Prysiazhniuk displayed immense vocal stamina and was in a position to challenge powerfully over giant orchestral forces. His articulation was excellent certainly and he delivered Prokofiev’s speedy speech declamations with distinctive readability of line and rhythmic management.
Sophie Gordeladze additionally gave a really high-quality efficiency within the function of Polina. She portrayed Polina as an imperious and calculating character within the early scenes. She introduced the sadomasochistic components of the character to the fore as we watched her humiliating Alexei earlier than exerting sexual management over him. Gordeladze additionally delivered Prokofiev’s strains clearly and with good diction. I used to be very impressed with the scenes the place she conspired with Alexei to insult the company; she used her voice to challenge very sinister and harmful feelings. Within the closing scene Gordeladze appeared to depict Polina having a breakdown. She was in a position to transfer seamlessly from moments of immense energy whereas singing in very excessive tessitura to whispering softness and delicacy.
Alexei Botnarciuc gave a high-quality efficiency within the function of the Basic, depicting the character’s descent from boastful aristocrat to damaged hysteric as his fortune vanished beneath him. He had a really highly effective voice and efficiently minimize by way of giant orchestral textures whereas negotiating these speedy speech pushed declamations. Clarry Bartha’s Babulenka conveyed authority when she was on stage and could possibly be spiky and outspoken. She gave an assured efficiency of the demanding vocal line. The remainder of the solid gave high-quality performances and helped keep the driving momentum of this work.
Valentin Uryupin and the Wexford Opera Competition Orchestra have been very good all through. Uryupin brilliantly maintained the momentum of the music with its fixed driving ostinatos and shifting textures. He ensured there was a very good steadiness between the singers and the instrumentalists even in probably the most explosive passages. He used the net of leitmotifs within the rating to light up the characters; I loved the best way the brass and decrease woodwind depicted the pomposity of the Basic. Prokofiev’s music is permeated with components of parody and the grotesque; and people components got here to the fore on this efficiency. The dry strings and biting woodwind gave the music a biting satirical edge.
General, there was quite a lot of very high-quality singing and enjoying on this opera though the set was disappointing and there was scope for the manufacturing group to develop their concepts extra.
Robert Beattie
Featured Picture: Wexford Competition Opera’s The Gambler © Padraig Grant
Manufacturing:
Stage Director – Ivan Popovsky
Set and Costume designer – Maria Tregubova
Choreographer – Luisa Baldinetti
Lighting designer – Paolo Bonapace
Refrain grasp – Andrew Synnott
Wexford Faculty of Ballet and Performing Arts
Forged:
Alexei – Taras Prysiazhniuk
Polina – Sophie Gordeladze
The Basic – Alexei Botnarciuc
Blanche – Hilary Ginther
The Marquis – Gavan Ring
Mr. Astley – Rory Musgrave
Grandma – Clarry Bartha
Prince Nilsky – Seán Tester
Potapytch – Ross Cumming
The Baron – Wonsick Oh
The Baroness – Olga Conway
