The Burial at Thebes
The Globe
Walton double bill
Linbury Studio, Royal Opera House
What is our best chance of experiencing Greek tragedies as works that are alive and life-giving, as we can sometimes experience Shakespeare? I’m taking it that we don’t understand Greek, but there are major problems even for those who do. Seamus Heaney, like many fine poets, has provided a version of two of Sophocles’ plays, and Dominique Le Gendre has made an opera of his text of Antigone, called The Burial at Thebes in Heaney’s version. The opera received its première at Shakespeare’s Globe last week. Peter Manning, concertmaster of the Royal Opera Orchestra, conducted. It was a remarkably dismal occasion, despite the balmy weather and the silent crowded house. For this opera never begins to engage the interest. That despite the fact that a second Nobel Prize winner was recruited to design and direct: but Derek Walcott, though he has had a lot of theatrical experience, had failed to make up his mind about whether, for instance, the actors should simply stand and declaim, or move around, touch one another, be expressive, or cultivate a ritualistic style, à la Oedipus Rex of Stravinsky.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in