Opera review: Hirda (NOISE), Queen’s Hall, Edinburgh
Hirda (NOISE)
Queen’s Hall, Edinburgh
****
And this brand new opera feels like it’s got true Shetland blood pulsing fiercely through its veins – it’s set there, with a libretto (by Welsh dramatist Siân Evans) in Shetlandic Scots, and it’s co-composed by Shetland fiddler Chris Stout, who supplies more than a few bright, ringing solos, and whose distinctive melodic turns bring a raw-edged folksiness to the luminous, minimalist-inspired ensemble music by Northern Irish co-composer Gareth Williams.
It’s only NOISE’s second production, and it’s a bold, confident statement, a tale of a Shetland-born Hollywood star who returns home to the island and (unwittingly?) seduces his brother’s wife.
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Hide AdThe striking, vivid production by NOISE artistic director James Robert Carson made effective use of the Queen’s Hall’s expansive interior, and performances were strong all round – especially intense lyric tenor Andrew Dickinson as the betrayed Iain, and a feisty Shuna Scott Sendall as the two men’s no-nonsense sister Elsa.
The work’s true glory, though, is Stout and Williams’s soaring, heartstring-pulling music, enormously powerful in conveying the opera’s intense emotions. Balance was a problem, though: it was a shame that the eager instrumental ensemble, directed by an energetic Williams, simply drowned out the singers a lot of the time, so that it made little difference whether they were singing in Shetlandic or not.