Bliss

We’ve had the book, the movie, and now the opera of Bliss, Peter Carey’s 1981 breakthrough novel in which celebrated advertising executive, Harry Joy wakes up after a heart attack (and nine minutes of death) believing he is in hell.

Opera AustraliaThe Arts Centre, Melbourne
Tuesday, April 20, 2010
We’ve had the book, the movie, and now the opera of Bliss, Peter Carey’s 1981 breakthrough novel in which celebrated advertising executive, Harry Joy wakes up after a heart attack (and nine minutes of death) believing he is in hell. Seeing his business and horrifyingly dysfunctional family through new eyes Harry is determined to escape Hell by being good. What follows is a none-too-subtle modern parable on our toxic consumerist society and the idealistic fantasy of a “blissful” life amongst an unspoiled nature.Bliss the opera succeeds on all levels. Most importantly it transcends the “why” factor: by capturing the essence of the novel and creating a psychologically intense, compelling and ultimately poignant musical drama. Forget the irony that Peter Carey has been resident in the greatest metropolis of all, New York, for some years.  This Bliss speaks to the heart of the perhaps universal (but increasingly unattainable) longing for an escape to a simpler life in the Garden of Eden, complete with the partner of our choice.For his first opera, Australian composer Brett Dean has created a richly textured score of driving modernism entwined with recognisable motifs, surprising lyricism and emotion.  The instrumentation is mostly sympathetic to the singers with only a few moments in the first act when the orchestra, conducted by Elgar Howarth, overwhelmed. The full orchestra is supplemented by amongst other things, an electric guitar and drum kit which add extra colour to bar scenes and the appearance of the call-girl Honey; and the onstage violinist (whose role is never explained) becomes a character in the circus fuelled mayhem that is Harry’s Hell.Librettist Amanda Holden’s adaptation of the novel is the most successful contemporary treatment of an existing work that I have yet to see. The libretto distils the ideas of the novel, turning 100,000 words into 900. Though at times faithful to Carey’s text, Holden is not afraid to use her own words to tell the story in a way that serves, in the best way, the peculiar demands of opera. Fine use is made of a traditional opera device where words and phrases are repeated to reiterate the dramatic essence of a scene and, in this case, emphasise the haranguing nature of the people who occupy Harry’s Hell.Also employed to good use is the operatic convention of ensembles where each of the characters sings different lyrics. It is a credit to the direction and the singers that one could usually work out who was singing which thread of the dialogue. My favourite was in Act III when, in an extended trio reminiscent of the Rhinemaidens of Wagner’s The Ring, Betty Joy, Honey and the asylum manager Mrs Dalton each implore Harry to stay with them.Directed with finesse by Neil Armfield, the ensemble cast is faultless and effectively dispel the myth that opera singers can’t act.Acclaimed baritone Peter Coleman-Wright is on stage for almost all of the opera, and shows just why the starring role was written for him – this consummate artist is Harry Joy. As the women in his life, Merlyn Quaife (Betty Joy), Taryn Fiebig (Lucy) and Lorina Gore (Honey B) are all outstanding, as are David Corcoran (David), Kanen Breen (Johnny Davis) and Barry Ryan (Alex).Standouts in the plethora of smaller roles are Stephen Smith (Betty’s Doctor) and Henry Choo (Aldo / Clunes), though all roles are sung and acted to an unusually high standard. The OA chorus, as party guests and mental asylum inmates, handle the difficult score with aplomb, and rise to the acting challenges with vigour.Serving as almost another character in the drama, the simple set by Brian Thompson is animated on all sides with pixelated images on colourful LED-studded screens. Created by Thompson, the changing images imaginatively illustrate, both literally and abstractly, the surreal dreamscape of Harry’s world.This production of Bliss will travel to Edinburgh later this year, and a new production will be mounted in Hamburg in 2010 under the baton of Simone Young. After its initial success in Australia, let’s hope that Bliss is one of those rare creatures – a contemporary opera that lives on past the usual flurry of premiere seasons. Just how international companies cope with the Aussie colloquialisms and accents remains to be seen.
Bookings: www.ticketmaster.com.au or 1300 136 166
Dates: April 23, 27, May 1.