In claustrophobic proximity two couples find themselves in a conflict of madness and waking dreams.The Shadow of The Wave follows Alamar in his journey through ever more troubled waters.
The Gate (Cardiff, Summer 2011)
The Richard Burton Theatre (Cardiff, Summer 2011)
The Tete a Tete Opera Festival (Hammersmith, Summer 2012)
Adam – Roberto Abate
Alamar – Owain Browne
Anima – Justin Kim
Gala – Sarah Reddin
Scarlett – Dorothea Herbert
Composer/conductor: Tom Floyd
Librettist: David Spittle
Director: Deborah Cohen
Designer: Vicki Male
“This Opera is a very well-made piece, with many features in common with the well-made plays that used to be common in the West End… The music of Shadow is attractive, mellifluous, continuous. There are two couples — sophisticated, articulate, heavy drinkers: one couple is an artist and tortured, and his wife; the other her neurotic sister and her businessman husband. As they get into various kinds of upset, they are accompanied by a 14-piece orchestra. There is also a mysterious figure, Anima (sung by Justin Kim) who watches the proceedings and periodically sings eerily about them; in some ways he is the most striking feature of the work.
The music of Shadow is attractive, mellifluous, continuous. As usual, I couldn’t resist thinking which better-known composers it was like, and the nearest I came was Tippett, but that may be because of the subject-matter. Though the orchestra played alongside the action, it never drowned it, and the singers, mostly articulating with a clarity I’ve always hoped for, gave maximum value to David Spittle’s fluent drama. The role of Scarlett, the seductive and unbalanced sister-in-law, was impressively well performed in all respects by Dorothea Herbert; she alone had a lengthy and demanding solo, and made me want to see her in something I know, though I’d have been happy to see Shadow again if it hadn’t, as Tête à Tête operas do, had to give way to the next show.
The Spectator 25 Aug 2012