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A JOURNAL
THIS BLOG IS AN ONLINE JOURNAL OF MY EXPERIENCES PAST AND PRESENT IN THE FORM OF WORDS, MUSIC, PHOTOS AND ART
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November 29, 2006 A NIGHT AT THE SYDNEY OPERA I am seated in an opera box at the Sydney opera house, waiting for a performance of Donizetti’s “Maria Stuarda”. A standing-room only ticket of AU$20 got me this lordly place which was normally reserved for more moneyed subscribers. Why? It has a partial view of the stage, unacceptable if you’re plunking $100 or more for a show. This box would certainly command a higher price if its sightline is better.
A kindly-looking gray-haired Australian woman is my only other companion in the box. I learn that she is a retired costume (or is it prop?) mistress of the Sydney Opera. I notice a tall woman with a prominent jaw (think German fraülein) from the front-row orchestra waving her hand in my direction. I tentatively wave back at her, and then realize that she is actually waving at the costume mistress beside me. “Who is that lady?” I ask. “Oh,” she replies, “that’s Joan Sutherland”. We enthusiastically wave back at her.
 The conductor of the opera that night is Dame Joan's husband, Richard Bonynge. The programme notes that this particular opera was last performed by her wife many years ago.
Now she's just a spectator, albeit an honored one. The opera is a compelling bel canto re-creation of Schiller's play. As for the sound, I find the acoustics of the hall less impressive. It does not floor me the way the opera's architecture does.
But Utzon's architecture astonishes and delights me. There's something about the sail-like roofs of the opera house especially at sunset, that makes me want to sing, "The sails are alive...." The Sydney Opera House is an architectural icon on par with the Statue of Liberty and the Parthenon.
During intermission, looking out through the floor-to-ceiling windows, I indeed have the sensation of being on the prow of a ship at sea. Unmoor the Opera House and it would be a cruiseship!
Impressive floral arrangements featuring something like gigantic proteas on cane-stalks adorn the lobby. I've seen those flowers on the outskirts of Sydney, large blooms on single stalks springing up from the Aussie countryside like exclamation points among the gum trees.
My view of the acoustics notwithstanding, I find this evening at the Sydney Opera memorable due to my serendipituous brush with opera royalty. In later evenings I am able to catch performances of Beethoven's "Fidelio" (ponderous), Gounod's "Romeo et Juliette" (French) and Miller's "The Crucible" (shattering). There is no lack of world-class artistic activity and depth Down Under, contrary to what some might think.
In the photo below is my niece, Marianne and me, taken in 1993. She is now a manager at WestPac
and the happy mother of two beautiful girls, Taylor and Emily.
 Posted by manniep at November 29, 2006 9:08:47am
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