By TARA WERNER
Opera for children is always an excellent idea - it introduces them early to the creative elements inherent in the art form - especially if it is done with humour and doesn't patronise. Children can all too easily be turned off, often for life.
The Tale of the Birdcatcher
by Peter Scholes is a case in point.
The innovative libretto by Catharina van Bohemen had a lot going for it - the moral being that people should live in harmony with their environment and not be as destructive as the highly mercenary Birdcatcher.
Scholes' music for the Auckland Chamber Orchestra was fresh and lively. An orchestration that featured a range of clarinets highlighted his penchant for the instrument, and the score contained an eclectic mix of styles, including witty asides from Mozart's Don Giovanni at the appropriate places.
But somehow, this second performance on Sunday night did not quite sparkle or fire up.
The staging seemed rather amateur. The production may have been funded on a shoestring, but it didn't need to look as if it had.
More creative lighting would have meant that the set was not even necessary, apart from a bit of equipment for the Birdcatcher's laboratory.
The cast from Class Act Opera tried hard in their characterisations, with Terry Barry coming across as an oafish impresario, Susan Boland as an exceedingly dimwitted diva and Greg Patel as a browbeaten Boy.
And then there were Sarah-Jane Rennie's many roles, notably an officious customs officer.
Given that the opera is aimed at children, clarity of words was vital. Yet much of the opera was incomprehensible and required a close reading of the libretto beforehand to make any sense.
A better balance between musicians and singers would have alleviated this, since the orchestra sometimes drowned the voices.
Finally, presenting two shows in a row adversely affected the second. The Tale of the Birdcatcher entirely missed its chance at enticing children to the operatic cause.
