Seduced
by the allure of opera
"I'm an ideas person,"
David Branson reflects, describing his journey from acting and producing in
the drama theatre to the compelling area of opera production.
Performance
had always been in his blood, coming as he does from a family whose members
all played and acted and sang. He himself trained as a classical violinist for
10 years and traveled overseas with the Canberra Youth Orchestra. However,
after the formative years at Rusden College and the Victorian College of the
Arts in Melbourne he worked energetically on innovative theatre projects for
year before coming into contact with people who loved and were involved in
opera
Nigel
Kellaway was one influence and then he met Vivienne Winther, artistic director
of Canberra's Stopera, whose knowledge and expertise soon had hint hooked on
the heady delights of opera production.
This
meeting soon led to a marriage, Cimarosa's If Matrimonio Segreto a delightful commedia dell'arte production for Conbrio
(a small specialised group created by Winther and Ditta Zizi) which received
great critical acclaim.
Branson
is currently artistic director of CIA, not in Australia a confronting security
organisation but Culturally Innovative Arts. He does, however, want to
confront audiences with works that have political relevance and which
challenge traditions.
The
first co-production of CIA and Stopera, Jonathan Lees Heinrich Heine 1, Fool of Fortune, was followed in August, 1998 by The
Threepenny Opera by Bertolt Brecht and Kurt Weill.
Branson
had long been an admirer of Brecht's * a work and Stopera had performed
Weill's The Tsar Has His Photo Taken as part of
their 2 Shots production in 1997 so this piece satisfied the interests of all
parties including the critics.
In
March this year Branson directed Stopera's stunning production of Handel's
Ariodante,
performed in the open air venue of Commonwealth Park.
He
found bringing all the elements of this production together in a short time
challenging and coping with all the peripheral issues that had to be addressed
annoying (such as requirements for safety harnesses for performers who swung
down from the roof of Stage 88).
But
in spite of time constraints performers, orchestral players and technical
staff all formed a team that created an innovative, entertaining, beautifully
sung operatic work. A smash, in fact.
Branson
talks of his fascination with the inventive use of space and evidence of his
ingenuity in this respect was very evident in
Ariodante. He also pays particular tribute to conductor, Graham Abbott for
his energy and knowledge and enthusiastic co-operation.
Branson
is always looking for new directions and now he really wants to explore opera
production. 'There's an integrity to each work," he says, "because
there are already beautiful structures in place but 1 want to find ways of
unfolding the work so that it becomes relevant and exciting."
"There
should be seduction through theatricality," he goes on." The song is
taking someone on a journey and the audience should be able to go on that
journey with the singer." He certainly wants to continue work in straight
theatre as well but hopes that this work will continue to inform what he does
in the opera.
"I'd
love to tackle another classic opera," he enthuses. "I'm greedy for
different things within the operatic convention."
Don
Giovanni captures his imagination as he loves to solve theatrical problems but
he also mentions new Australian works that would be exciting projects.
Branson's
next project is directing Stopera's intriguingly named The
Cook the Fox and the Bride,
which will be perfumed at Canberra's Street Theatre from June 3 to 12. This is
a program of three one‑act operas.
The
first is Stravinsky's opera buffa, Mavra
and the second his burlesque, Renard,
a 20 minute piece adapted from a Russian story. These pieces will reflect
the color and flamboyance of the Australian National Gallery's forthcoming
exhibition, From Russia with love - Costumes from the Ballets Russes 1909 -
1933.
Renard will also be performed in full at the Gallery on Friday, May 21
at a special viewing of the Exhibition.
The
third piece is Rossini's La Cambiale di
Matrimonio, his first professional opera and designated a "farsa
comica." Branson will give it a Jane Austen flavor.
The
experienced tenor David Hamilton will sing in all three pieces and two singers
who have worked with
Branson
before, Ditta Zizi and Geoffrey Manning, will also appear. Other singers
include Teresa Fanning and Canberra singers Rachael James and Trent Morris.
Two
people who contributed to the success of Ariodante,
lighting designer Matt Cox and choreographer, Vivienne Rogis, will also
work on this production.
Three
such unusual pieces should provide wonderful material for Branson's talents.
Still speaking eagerly about his attraction to opera Branson says: "This
is new to me, I want to pursue this career path - and now I don't think I'll
be able to stop! "
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