Hamlet, the opera with everything, has been worth waiting for

It is Sydney’s turn to see Hamlet, Brett Dean’s new opera with everything – love, murder, power and madness.

Opera Australia's production of Brett Dean's Hamlet marks the end of a seven-year wait. Photo: Keith Saunders.

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Australian composer Brett Dean isn’t afraid to tackle the big themes – whether it’s an orchestral piece about a Soviet cosmonaut’s fatal re-entry into the earth’s atmosphere, the Black Saturday Victorian bushfires of 2009 or a setting of Peter Carey’s epic novel Bliss.

And they don’t come much bigger than William Shakespeare’s tragedy Hamlet, which is the subject of his spectacular new opera with a libretto by Canadian Matthew Jocelyn. Since its premiere at Glyndebourne in England in 2017, and subsequent runs at the New York Met and the Adelaide Festival, it has garnered rave reviews playing to full houses and now it is Sydney’s turn to see the opera with everything – love, murder, power and madness.

Opera Australia’s production over seven nights features many of the original performers and production designers, including superb English tenor Allan Clayton in the title role and direction by Belvoir Street Theatre co-founder Neal Armfield, and is a must-see big night out which takes you right into the fractured mind of its hero. With its pitch-perfect cast, including OA regular soprano Lorina Gore who gives a visceral portrayal of Ophelia’s disintegration into madness, Ralph Myers’ imposing sets and impressive lighting and costumes, together with the clever use of “satellite” groups of singers and percussionists placed in the loges either side of the stage, this is an all-embracing Sensesurround experience.

Dean’s score is astonishing, combining conventional operatic singing with unusual vocal techniques, subtle electronic elements fused with the on-form Opera Australia Orchestra, led by acting concertmaster Huy-Nguyen Bui, and a wide variety of sound effects from both instruments and implements.

Clayton is stellar as the Danish prince who tries to process the discovery that his beloved father was murdered by his uncle, Claudius, who has not only usurped the throne but also Hamlet’s mother, Queen Gertrude. US baritone Rod Gilfry reprises his powerful role as the new king and Canberran mezzosoprano Catherine Carby is rock steady as his consort.

Brilliant young tenor Nicholas Jones, who shines as Ophelia’s brother Laertes, has established himself as a favourite in both OA and Pinchgut Opera productions and he holds his own both musically and theatrically against Clayton’s charismatic presence. Other local favourites tenor Kanen Breen (Polonius), baritone Simon Dundas (Horatio) and bass Jud Arthur (Ghost of Old Hamlet/Gravedigger) offer sterling support and Dean’s use of two counter tenors – Russell Harcourt and Christopher Lowrey – as Hamlet’s simpering former classmates Rosencrantz and Guildenstern bring a little comic relief. There is also a welcome change of pace with the appearance of classical accordionist James Crabb in the play within the play.

This extraordinary show, with its approachable music that occasionally overwhelms the senses, is admirably steered by Anglo-German conductor Tim Anderson, who has been involved with the opera since its initial rehearsals in pre-Covid England.

DETAILS

• OPERA Hamlet by Brett Dean

• STARRING Allan Clayton, Lorina Gore, Rod Gilfry, Catherine Carby

• WHERE Joan Sutherland Theatre, Sydney Opera House

• WHEN June 20, 2024

• SEASON Until August 9, 2024