We are currently living in the anthropocene age: the geological era defined by humanity’s impact on the planet. The term is also the jumping-off point for Stuart MacRae’s new opera, which received its world premiere at Scottish Opera this week. MacRae has come a long way since the premiere of his first one-act opera at the 2006 Edinburgh festival. While The Assassin Tree, with its mythological setting and symbolism-laden libretto, didn’t quite come together as a work, it nevertheless showed MacRae as a composer with a flair for the dramatic and well suited to the operatic stage.
Fast-forward 13 years and MacRae, only in his early 40s, has struck up a profitable partnership with writer Louise Welsh. The two first worked together a decade ago on one of Scottish Opera’s groundbreaking Five:15 shorts, since when their partnership has delivered two more substantial works and now a full-length opera.
Anthropocene is a psychological thriller. The title refers to the hi-tech polar expedition ship on which the action takes place. On board is a hierarchical society in miniature: the wealthy ship owner and expedition backer (Mark Le Brocq); his spoilt yet wide-eyed daughter (Sarah Champion); a wife-and-husband team of scientists (Jeni Bern and Stephen Gadd), zealots intent on making their mark on the world; a self-interested journalist recording the expedition (Benedict Nelson); and the implacable, superstitious captain (Paul Whelan) and his crew. The community’s fragile cohesion is thrown into disarray by the discovery of a living creature in the ice. Winter sets in, the ship becomes icebound, people start to lose their minds and, suffice to say, things don’t end up too well.
MacRae’s musical language has softened since his early days as a composer of uncompromisingly modernist works. His score for this is a wonder of skilful orchestration, conjuring icy-cold landscapes and the fear in the hearts of the protagonists. The opening launches straight into the action with fluttering, swirling string motifs suggesting the snow that is about to envelop the ship and its passengers. The musical interludes between scenes, particularly the sensuous depiction of the northern lights, are vignettes of great character and delicacy: it’s no stretch to imagine them being excerpted and expanded into an orchestral work.
This is an ensemble piece, with each character given the opportunity to reveal their inner mind to the audience, but Jennifer France has the standout role. Her ethereal, luminous high soprano is used to great effect to portray the otherworldly creature rescued from the ice. Vocally it is reminiscent of the Controller in Jonathan Dove’s Flight, a role that France has very much made her own.
The first half sets the scene of the characters and their motivations, leading to the psychological exploration in the second act and denouement in the third. Arguably the balance doesn’t quite work: the first act is a little too long and the finale a little rushed, something that MacRae and Welsh may want to revisit. With its colourful orchestral writing, ably performed by Stuart Stratford and the Orchestra of Scottish Opera, it’s a work that would merit a second hearing – although preferably without director Matthew Richardson’s production, which is too bland and flimsy to add much to the atmosphere.
Theatre Royal, Glasgow, on 26 January, then at King’s theatre, Edinburgh, 31 January-2 February, and Hackney Empire, London, 7-9 February).
