Guest review by Lucrezia Pollice
Pop-up Opera attempts to engage and give agency to audiences who would not normally attend the opera. To do this, Cimarosa’s 1792 comedy Il Matrimonio Segreto (The Secret Marriage) has been modernised to a 21st century setting, acting is exaggerated and the concept is at times ridiculous, playing on the comedic side of the narrative.
It is a comedy to be taken with a laugh and an open mind, it pushes many boundaries and manages to reach many people in meaningful ways. Most importantly the music and quality of the performers is of really high quality, and that is the strength of the company. If anyone thought the opera was boring, go and see this performance and you will not be disappointed – this one is definitely not boring!
The show was quick, did not bore the spectators and did receive laughs from the public. Although in Italian, large screens project short colloquially translated captions and satirical images accompany the story in a very easy to follow manner. The story commences with the secret marriage of Carolina (Chiara Vinci) to Paolino (Mark Bonney). However, Carolina’s father Geronimo (Joseph Kennedy), a rich and mean merchant, is Paolino’s master and would never approve their marriage. Around them is the classical comedic scene of that time – Elisetta (Emily Blanch), her sister, the English Count Robinson (Tom Asher) who wants to take Carolina’s hand and the rich widow, auntie Fidalma (Vivien Conacher), who also has a burning desire for Paolino. Conflict and tension are obviously present. Carolina’s father is determined to have his daughters married to respectable people and with the excitement of knowing that English Royalty is planning to take one of his daughters as a wife, stakes are raised high.
The performance is full of comedic over the top tableaux. Auntie Fidalma’s passion is exaggerated into a blazing sexual need – as she presents the audience with her book Sex and Joy and reproduces orgasms on stage – it is so ridiculous that it cannot be found funny! The sisters fight with boxing gloves and the English count is disturbingly but realistically extremely sexual.
However, as an opera native and lover it was very difficult to watch the performance the entire way through. The musicality of the performance was lovely to listen to, but unfortunately modern satirical references, costumes and acting would override the music and in my opinion destroyed the magical poetics of the opera. Having said this, for non-opera goers this might be a very interesting beginning to engage in the art form.