This operatic re-imagining of Murray Bail’s Miles Franklin-winning Eucalyptus deserves to be seen more than once.
that one could not judge it on a first hearing, and he certainly didn’t plan a second. Rossini meant it as an insult; when I say Jonathan Mills’ new operaAustralian-born, British-based composer Mills has produced a complex, often exciting, moving yet challenging score which, based on the audience comments as they exited, showed many had struggled to grasp. In fact, Mills opens with his own homage to Wagner, a quiet low-register, gradually increasing distilling of nature reminiscent of.
This is an excellent production. Experienced librettist Meredith Oakes has written for such composers as Thomas Adès, and this was a convincing and clever adaptation of the Miles Franklin award-winning novel by Australian author Murray Bail about a father who offers his daughter in marriage to anyone who can identify the 500 eucalypt varieties on his property.Charlie Kinross
Oakes used the Victorian Opera chorus as a sort of Greek chorus, advancing and commenting on the narrative, and they responded with a stellar group performance. Director Michael Gow is a noted playwright and director who brought the simple staging to vivid life. Simone Romaniuk’s effective and economical set included a semi-transparent gumtree-lined backdrop with the orchestra behind, so that conductor Tahu Matheson appeared like a ghost emerging from a tree trunk.
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