A complex and challenging addition to the world of opera
“A Star Next to the Moon” emerges as a transcendent opera, a testament to the nearly two-decade labour of composer Stephen McNeff and the Guildhall School of Music and Drama’s commitment to presenting innovative works. In its world premiere as part of the spring season, this opera unveils a haunting tale of a son’s journey to a ghost town, Comala, seeking his enigmatic father, Pedro Páramo, based on Juan Rulfo’s award-winning novel.
McNeff’s score, a chromatic collage of modern musical elements and traditional nuances, proves to be a challenging yet rewarding experience. The orchestral gestures, punctuated by a mesmerizing harpsichord solo and unforgettable melodies, showcase the composer’s prowess. The opera is thoughtfully divided into two sections by librettist Aoife Mannix – Juan’s quest through Comala and the town’s collective memory of Pedro’s life. While Mannix’s libretto is musical, it occasionally leans towards repetitiveness, especially in the first act.
Under the baton of Dominic Wheeler, the Guildhall orchestra delivers McNeff’s score with precision and beauty. Anna Reid’s stage design, capturing the essence of a dust-ridden South American ghost town, complements the bleak realism of the narrative. The residents, clad in black, move through the petrified dwellings, creating a stark visual representation of the dissatisfied memories haunting Comala. The set becomes a character in itself, a canvas on which the haunting story unfolds.
Jacob Harrison’s portrayal of Pedro Páramo is compelling, displaying a conniving charisma with a fine baritone. Emyr Lloyd Jones as Fulgor and Holly Brown as Susana San Juan deliver powerful and memorable performances, standing out even in ensemble moments.
The chorus, with excellent timing and character, sweeps through the disparate choral pieces. Some male choristers switch into falsetto during scenes, but this never feels forced. The ensemble adds another layer to the operatic experience, embodying the ghostly memories that populate the town of Comala.
Despite its sombre tone and lack of light-hearted moments, “A Star Next to the Moon” unveils a depth and quality worth exploring. The opera’s exploration of the cloying inescapability of despotism and the compression of time makes it a thought-provoking experience. While the plot may be challenging to follow, the captivating music, exquisite orchestration, and standout performances make it an opera that invites repeated exploration, much like the novel it is based on.
In the hands of director Martin Lloyd-Evans, the staging successfully captures the essence of Rulfo’s ghost town. The dust-ridden, bleak South American setting is a stark backdrop against which the characters navigate their dissatisfying memories and unearth the buried secrets of Pedro Páramo. The choice to depict the town as ossified dwellings adds a layer of metaphorical weight, emphasizing the stagnation and unresolved issues haunting Comala.
“A Star Next to the Moon” stands as a commendable addition to the world of opera. While it may not be a sunshine-filled, laugh-a-minute experience, its sombre tone and haunting narrative offer a unique and thought-provoking journey.