In a striking double bill, the Guildhall School orchestra shed its skin to reveal two unlikely works by masters of the operatic repertoire. From the sweltering heat of Ethel Smyth's Der Wald, where the spirits of 20th-century romanticism swirl like autumn leaves in the pit, to the eerie grandeur of Ottorino Respighi's Lucrezia, it was clear that Wagnerian ghosts were lurking just beneath the surface.
Smyth's opera, premiered in Berlin nearly a century ago, bursts forth with a fierce vitality that conjures the dark woodlands of North America in 1950s. Iolanthe, the pseudo-Valkyrie, arrives on horseback as the woodlanders don denim and plaid, a setting as modern as it is mystifying. But beneath its bold strokes lies a Romantic forest inhabited by innocent lovers and social upheaval – with Avery Lafrentz's piercing soprano capturing the essence of death and love in the poignant "Tod und Liebe" finale.
Stephen Barlow's production cleverly weaves together elements of 20th-century art, from the motorbike arrival of Iolanthe to the 1950s North American setting. Despite a few lapses into an underheated climax, the cast delivers a showstopper – particularly Avery Lafrentz and Sonny Fielding in their smaller but pivotal roles.
Meanwhile, Respighi's Lucrezia, a more recent work in this double bill, channels Wagner through the distinct filters of Puccini and Strauss. This score masterfully juxtaposes brutal harshness with delicate beauty, featuring earthy cellos and basses, frantic woodwind passages, and towering brass sections. The orchestra delivers its most compelling performance in this piece, where Manon Ogwen Parry's Venilia shines with dramatic intensity.
In Barlow's courtroom staging of Respighi's Lucrezia, a modern US setting amplifies the opera's narrative – men in suits and sandals facing women clad in toga-like dresses. Gabriella Giulietta Noble brings her unique storytelling voice as La Voce, while Hannah McKay and Manon Ogwen Parry are outstanding as the titular Lucrezia and Venilia.
As this double bill comes to a close, it is clear that both works owe an unspoken debt to Wagner – whose creative legacy endures in these operas like a shadow. It's only fitting then that we acknowledge their significance and explore the complex world of Smyth and Respighi within its rich musical landscape.
Smyth's opera, premiered in Berlin nearly a century ago, bursts forth with a fierce vitality that conjures the dark woodlands of North America in 1950s. Iolanthe, the pseudo-Valkyrie, arrives on horseback as the woodlanders don denim and plaid, a setting as modern as it is mystifying. But beneath its bold strokes lies a Romantic forest inhabited by innocent lovers and social upheaval – with Avery Lafrentz's piercing soprano capturing the essence of death and love in the poignant "Tod und Liebe" finale.
Stephen Barlow's production cleverly weaves together elements of 20th-century art, from the motorbike arrival of Iolanthe to the 1950s North American setting. Despite a few lapses into an underheated climax, the cast delivers a showstopper – particularly Avery Lafrentz and Sonny Fielding in their smaller but pivotal roles.
Meanwhile, Respighi's Lucrezia, a more recent work in this double bill, channels Wagner through the distinct filters of Puccini and Strauss. This score masterfully juxtaposes brutal harshness with delicate beauty, featuring earthy cellos and basses, frantic woodwind passages, and towering brass sections. The orchestra delivers its most compelling performance in this piece, where Manon Ogwen Parry's Venilia shines with dramatic intensity.
In Barlow's courtroom staging of Respighi's Lucrezia, a modern US setting amplifies the opera's narrative – men in suits and sandals facing women clad in toga-like dresses. Gabriella Giulietta Noble brings her unique storytelling voice as La Voce, while Hannah McKay and Manon Ogwen Parry are outstanding as the titular Lucrezia and Venilia.
As this double bill comes to a close, it is clear that both works owe an unspoken debt to Wagner – whose creative legacy endures in these operas like a shadow. It's only fitting then that we acknowledge their significance and explore the complex world of Smyth and Respighi within its rich musical landscape.
I loved how they brought these two lesser-known operas to life - Ethel Smyth's Der Wald was so evocative, like a wild forest on fire 
and Ottorino Respighi's Lucrezia had me hooked from the get-go. The production was top-notch too, with clever stage design that tied everything together seamlessly 
Iolanthe on horseback was pure genius 
and Avery Lafrentz's performance in "Tod und Liebe" gave me chills - that woman can SING 
. Overall, it felt like a journey through time and art history, and I'm so grateful to have experienced it.
they totally killed it with ethel smyth's derwald & ottorino respighi's lucrezia!!! i love how smyth's opera has that dark forest vibe but also feels super modern lol like what even is a pseudo-valkyrie on horseback in denim & plaid?! 
anyway, the cast did an amazing job, especially avery lafrentz & sonny fielding 
and respighi's lucrezia was so intense with all those cellos & brass sections 
. I love how they mixed things up with Ethel Smyth's Der Wald - who knew opera could be so...unconventional? 
The orchestra was killing it, especially with the cellos and brass sections - I felt like I was right there in the courtroom staging. I'm intrigued by the whole modern US setting thing too...it adds a new layer of depth to the story.
. And that's what makes this double bill so compelling...
the setting for Lucrezia is so cool, modernizing Wagner's narrative in such an interesting way. The orchestra's delivery was spot on too, Respighi's score is just masterclass 
but then ottorino respighi's lucrezia came on and i was like whoa 
that guy can write some next level tunes 
manon ogwen parry as venilia tho? 
next up, i need to learn more about ethel smyth 
. But what really struck me was the connection to Wagner - I mean, you can hear his influence everywhere in those operas. It's like you're experiencing a piece of history through music 
The Guildhall School orchestra's interpretations of Ethel Smyth's Der Wald and Ottorino Respighi's Lucrezia are undeniably impressive, but I couldn't help but feel a sense of detachment from the emotional resonance they're aiming for. Perhaps it's the unyielding modernity of the settings, which, while clever, might be overshadowing the operatic masterpieces being performed here 
.
Avery Lafrentz's voice just gives me chills every time! And Respighi's Lucrezia was so hauntingly beautiful... Manon Ogwen Parry's Venilia is literally giving me life 
. I mean, who wouldn't want to see a pseudo-Valkyrie show up on horseback in denim and plaid? 
The cast was on point, too, especially Gabriella Giulietta Noble as La Voce - she brought that storytelling voice like nobody's business 
. Can we get a repeat performance of this double bill ASAP? 