Opera Scotland

Vin herbé 2025Byre Opera

Read more about the opera Vin herbé

Frank Martin's interesting treatment of the Tristan legend was mounted in Glasgow at the Conservatoire when it received its Scottish premiere in 2017, and a second look was quite justified.  As in Glasgow, the director was Kally Lloyd-Jones. Her colleagues also returned, with Jsnis Hart's simple design concept, where portable black chairs replaced the grouping of boxes used before.  A simple sail could be pulled to one side when not needed. Davy Cunningham again created atmospheric lighting.

At the final of the three performances, the audience sat in rapt attention throughout, and were hugely enthusiastic. To enhance the experience, Michael Downes had contributed an informative talk before each of the last two performances.

There were two fundamental changes in the presentation compared with 2017. The first was the fact that the piece was presented in English, in an effectively clear translation by Hugh Macdonald.  The second was that the work was played on its own.  In Glasgow the first part of the evening was taken up by Milhaud's Les Malheurs d'Orphée, with the Martin played in a single act.  This time it was possible to insert an interval. This wasn't just useful for the audience, all concentrating hard.  For the singers it is a demanding work, and the tenor playing Tristan, in particular, was able to benefit from the break between his two particularly demanding solos.

As usual, the Byre Opera forces were conducted by Michael Downes.  He was placed to one side of the excellent Laidlaw auditorium, in clear sight for the performers (though an image was usefully presented on the back wall to help set the scene).  The instrumental ensemble was spread across the back of the stage. There are eight players - two each of violin, viola and cello, with the addition of double bass and piano, producing an extraordinary range of sounds.

Martin presented a hugely demanding challenge for the dozen vocalists to learn, and it really was a triumph for all concerned.  The work itself is not perhaps for all tastes, but it is well worth hearing from time to time.