A shrill and squeaky neo-classical opera meets underwhelming sci-fi queer romance
Written by Robin Fiedler and Wyatt Gaer, with music also by Fiedler, Serenoid is a sci-fi opera telling the steampunk-infused queer romance between Xaven (Victoria Oruwari, soprano), a blind engineer, and Corrie (Taryn Surratt, mezzo-soprano), an android violinist who is unable to stand or walk, spending her days playing gloomy violin pessimistically. Their relationship is hindered by Merton (Philippe Eugusyene, baritone), a jester-like villain. The story sounds promising, as it taps into the trendy academic environment to explores non-human agents and their relationship with human beings.
Nevertheless, this potential is underdeveloped out of its the narrative structure which leaves the audience literally in the middle of nowhere. By the halfway, we still have little idea of what’s going on: why does Xaven repeatedly emphasise “darkness”? Why does Merton hate her? And why is the crew (performed by a chorus of four) looking for her? Then, out of nowhere, she fixes Corrie’s broken leg, and the two suddenly dance, embrace and kiss. The plot appears as bizarre and inconsistent, lacking both build-up and logic.
The narrative flaws could have been covered up by the music, or made worse. Unfortunately, Serenoid falls into the latter category. Exacerbated by its neo-classical music style, the show endures the clash between high-pitched sopranos and piercing violins for almost an hour, unbearable both to the ear and the mind.
It was a privilege to watch Oruwari perform live, who has already amazed many with her performances on BBC 1’s talent show “All Together Now”. Unfortunately, the score fails to underlie her rich and luminous voice. Instead, their dissonant and atonal duets come across as rather conflicting than harmonic as one. Lacking gradual culmination both in narrative and musicality, the show fails to spark the chemistry between the heroines without any sense of sweetness or closure.
Edie Bailey’s (also as the director) set and costume design conveys a retro steampunk tone with a touch of Baroque delicacy, seamlessly integrated with her lighting design, which makes effective scene transitions and well aids the conductor Will Gardner reading his score. It was a pity that Surratt didn’t engage in a doubling performance with first violinist Julia Muzuki Hart, merely moving her arm mechanically, with no regard for matching Hart’s playing. However, this might just be a directorial choice to embody Corrie’s nature as a humanoid.
As part of the Cockpit 2024 Tête à Tête Opera Festival, Serenoid endeavours to present queer stories on the opera stage with differently-abled cast. Unfortunately, despite its commendable intentions, it misses the opportunity to fuse a potentially compelling story with bold thematic aspirations.