RBO Festen February 2025 @Marc Brenner
On Saturday, February 22, 2025, the Royal Opera presented Mark-Anthony Turnage's Festen, a compelling adaptation of Thomas Vinterberg's 1998 film. This opera delves into the unsettling revelations of child abuse that surface during patriarch Helge Klingenfeldt's 60th birthday celebration, blending dark humour with profound tragedy.
Turnage's composition masterfully oscillates between intense orchestral segments and poignant lyrical moments with a touch of Bernstein mixed therein, capturing the family's turmoil. The libretto by Lee Hall complements this by balancing sharp wit with the gravity of the underlying themes. Edward Gardner's dynamic conducting brought out the score's rich textures, guiding the Orchestra of the Royal Opera House through the narrative's emotional peaks and troughs.
Richard Jones's inspired production, paired with Miriam Buether's evocative set designs and Nicky Gillibrand's period-specific costumes, recreated the late 1980s ambiance of a provincial Danish hotel. The staging effectively transitioned between the hotel's reception, dining area, and private rooms, enhancing the story's intimacy and tension. This was Richard Jones at his best, particularly as he adds a racially bigoted rendition of ‘Baa Baa Black Sheep’ as the guests turn on Helena’s boyfriend and then the guests menacingly partake in a party conga.
The ensemble cast, brilliantly brought together by the casting director Peter Katona, delivered outstanding performances. Allan Clayton, as the troubled son Christian, portrayed a man grappling with past traumas, his vocal delivery ranging from powerful declarations to moments of delicate vulnerability. Gerald Finley embodied Helge with a disarming charm that masked a sinister core, while Natalya Romaniw's portrayal of Helena, Christian's sister, provided emotional depth, especially during the poignant reading of their sister Linda's suicide note. Stéphane Degout's depiction of Michael, the volatile younger brother, added layers of familial conflict, and Thomas Oliemans offered a touch of tragicomic relief as the beleaguered Master of Ceremonies, Helmut.
Festen stands out as a significant addition to contemporary opera, addressing challenging subjects with both sensitivity and unflinching honesty. The production's seamless integration of music, narrative, and stagecraft ensured a lasting impact on its audiences.
David Buchler