Renowned composer Charles Villiers Stanford (1852-1924), native of Ireland, was an influential figure in England’s music sphere during the 19th-century. He exhibited expertise in various music roles, from professor of music at the University of Cambridge and composition at the Royal College of Music in London, to conducting operas and leading the Leeds Triennial Musical Festival. His opera, Shamus O’Brien, was even showcased on Broadway in 1896 and was orchestrated, under Gustav Mahler’s direction, as part of the New York Philharmonic’s Irish Symphony.
A hundred years since Stanford’s passing, his Anglican ecclesiastical compositions continue to earn widespread admiration, while his operas are less appreciated. His works have scarcely been performed at the Wexford Festival Opera, with the single exception being Much Ado About Nothing in 1964, which was received critically and performed for two nights only, substituting orchestra with piano.
As a tribute on the centennial of Stanford’s death, the Wexford Festival is displaying his second-to-last opera, The Critic, conceived in 1915. This embodies an operatic adaptation of Dublin-born Richard Brinsley Sheridan’s 1779 play, The Critic: or, A Tragedy Rehearsed. The revision was handled by Stanford’s colleague at the Royal College of Music, Lewis Cairns James, known for his work associated with Gilbert and Sullivan productions. The power dynamic of lyrics and melodies in The Critic can be better comprehended when contrasted with G&S productions, where the notion of “music first, then lyrics” doesn’t hold good. The title needed alteration, with “tragedy” being superseded by “opera”, thus the revised title gives significant insight into the plot.
The 2 Johnnies are now romantically teasing us, moving in together after a week, and getting engaged within eight months. They echo the performances of the publicist Mr Puff (played by Mark Lambert), the composer Mr Dangle (Jonathan White), the critic Mr Sneer (Arthur Riordan), and the underprompter Hopkins (Olga Conway) from The Critic. These characters embody arrogance, dishonesty and ineptitude, performing unhindered and sans music.
The production showcases a kind of intelligent architecture where mildly mannered music takes the lead from literary voicing, yet maintaining its ebbing existence. It couldn’t be more dissimilar from, let’s say, a magnificent operatic air or a streaked difference depicted by a group.
The libretto is impressive and emits the composer’s actual comedic tendencies and vivacity. The Wexford-based production team misses no details, with the directorship of Conor Hanratty, sets by John Comiskey, costume design by Massimo Carlotto, lighting by Daniele Naldi, and orchestration by Ciarán McAuley.
Performances by Rory Dunne, Gyula Nagy, Ben McAteer, Oliver Johnston, Meilir Jones, Dane Suarez, Andrew Henley, Ava Dodd, Hannah O’Brien, and Carolyn Holt exhibit no shortcomings. They exhibit a commendable zeal akin to energetic pantomime performers, and bring out a perfect semblance of understanding, bewilderment, enthusiasm, and annoyance for the monotonous rehearsal process.
However, the spotlight is stolen by Lord Burleigh (Tony Brennan), the only non-speaking, yet the most role-rich character.
In terms of exceptional regard, applause is due for Hanratty and McAuley, who award Stanford with the same affection he originally conferred upon Sheridan.
The Critic will be hosted at the Wexford Festival Opera on October 24th, October 27th, and November 1st.