Ukraine fighting for its independence from Russia—how very apt, you might think. But Mazeppa isn’t a tale of a noble freedom fighter; instead, this tale sheds light on the cruelties dished out by the antihero.
Tchaikovsky composed eleven operas, but in the UK, Eugene Onegin is the only one regularly performed, with Queen of Spades making an occasional appearance. Based on a Pushkin poem, Mazeppa was only performed as a complete work in England for the first time in December 1984 at English National Opera. Tonight’s performance sees the ENO orchestra brought to Grange Park under the baton of Mark Shanahan with direction from David Poutney.
Opera is a famously tricky form to get right, but Mazeppa’s macabre plot actually makes sense and is easy to follow. Passion abounds, and there’s plenty of action. So why is this rarely seen in the UK? It’s a demanding sing for the principals, but Wasfi Kani (GPO boss) has delivered once again with an excellent cast and, as always, an outstanding chorus.
Tchaikovsky’s Mazeppa lacks some of the memorable melodic lines of his other works, but it abounds in passionate arias, thoughtful characterisations, rousing choruses and exiting orchestral interludes. The orchestra plays a large role in the characterisation, from deep brooding strings to the beautifully played, light woodwind solos for Mazeppa’s "O Mariya" as he broods on his late-flowering love.
There was energetic anticipation as Shanahan directed a brusque, driving cello line in the introduction, but what followed felt slightly dispassionate and underenergised in the first half. Revived after the long picnic interval, Shanahan brings more fire to the second half.
Poutney brings Mazeppa out of the 1800s to the 21st century. Portrayed as a virtuous maiden, Mariya (Rachel Nichols) is first seen adorned with garlands of flowers and dressed head to toe in natural tones of beige and cream. This pastoral innocence is smashed apart as Mazeppa (David Stout), a hedonistic despot styled like a Hell's Angel, arrives to ask for Maria’s hand in marriage.
Her parents object; Mazeppa is far older but she wants to be with him. She chooses Mazeppa over her family and young admirer Andrei. Decision made, she heads off on his motorbike, and from chaste innocence, Mariya quickly turns porn star as the pair rush through the countryside of Ukraine.
From here on, the plot takes a darker turn, reflected in the design and costumes (Francis O’Connor) and lighting (Tim Mitchell). We’re now meeting a cast decked in army fatigues, and Maria has become a red-satin-wrapped temptress. Vasily Kotschubey, her furious father, denounces the septuagenarian cradle-snatcher to the Tsar, who sadly sides with Mazeppa. The torture and execution of her father at the hands of her husband drives Maria into madness. The opera closes with the delusional heroine cradling the body of her childhood sweetheart in her arms, singing a demented lullaby to his corpse.
From the torturer's chamber to the coffin-laden battlefield, Poutney creates striking worlds for this bloodthirsty drama to play out. Gas-masked figures rise up out of coffins for act 4's ballet (choreographer Lynne Hockney). What follows is a beautiful yet chilling physical theatre enactment of soldiers trudging themselves across a battlefield and collapsing on repeat.
Luciano Batinic (Kochubey) has a voice with powerful intensity with which he grips us in the torture scene. Powerful tenor John Findon is ardent and engaging as Andrei. David Stout’s (Mazeppa) acting is superb—from ruthless leader, he brings out the tender side in his beautifully delivered "O Mariya" arioso. Rachel Nicholl’s Mariya seems too mature for this teenager, but she certainly delivers an exceptional performance, with her expansive voice easily sailing through the opera before tugging at our heartstrings in her final lullaby.
Hopefully, this excellent staging will drag Mazeppa out of the wings and bring it the enthusiasm Tchaikovsky’s bloody drama deserves.