Mark-Anthony Turnage has a habit of provoking stuffy opera fans.
The revered British composer’s 1988 debut, “Greek,” appalled some audiences by transposing Sophocles’s “Oedipus Rex” into to a cursing, brawling working-class London family. And some critics hated the pole dancers onstage in “Anna Nicole,” his opera about the tragic life of the Playboy model Anna Nicole Smith.
Now, Turnage is preparing to present “Festen,” in which a patriarch’s 60th birthday party descends into chaos after a speech exposes a family’s deepest secrets. When “Festen” premieres on Tuesday at the Royal Ballet and Opera in London, the show’s dark subject matter looks set to upset traditionalists, too.
Based on Thomas Vinterberg’s cult Danish-language movie of the same name, “Festen” includes descriptions of child abuse and suicide. The opera’s 35-strong cast will fight, engage in simulated sex and hurl racist abuse at the show’s only Black character.
Yet Turnage insisted in a recent interview that he hadn’t set out to challenge anyone — except himself. “Part of me thinks, ‘Why don’t I just do a nice fluffy story that will be performed a lot?’” Turnage said. “But I know if I did, it wouldn’t be any good.”
“I need to be provoked,” Turnage added. “I need an extreme or strong subject to write good music.”
This “Festen” premiere comes just over 25 years after Vinterberg’s movie won the jury prize at the 1998 Cannes Film Festival. Released as “The Celebration” in the United States, “Festen” was created under the banner of the Dogme95 movement, which required movie directors to follow 10 strict rules. Those included only using hand-held cameras and a ban on music, unless it occurs naturally in a scene.
Vinterberg said by phone that he was curious to see how the operatic adaptation would work, given that his movie was mainly about characters concealing their emotions. In opera, by contrast, “You’ve got to sing out everything — there’s no hiding,” Vinterberg said.
Turnage said he came to “Festen” by accident. He first watched the movie in the mid-2000s, and loved its dark humor, he said, but its operatic potential didn’t occur to him straight away. Then, during a binge-watch of Vinterberg films in 2019, Turnage said he realized: “Wow! This has got all the elements for a grand opera.”
The dinner party’s guests could be the opera chorus, Turnage recalled thinking, while the movie’s speeches — including one in which Christian, the movie’s middle-aged lead, accuses his father, Helge, of abuse — would make great arias. “I could see the people singing onstage,” Turnage said. “I could see music in it.”
The movie also spoke to him personally, Turnage added. While his own family gatherings had none of the horrors of “Festen,” he said he identified with Christian confronting his father. Turnage said his own father, who died last year, had spanked him as a child, and was “quite brutal” when he did. The composer said he was still angry about that. “I wanted my dad to say, Sorry,” Turnage said. “I knew he never regretted it.”
For the “Festen” libretto, Turnage turned to Lee Hall, a lyricist best known for “Billy Elliot.” It was a relatively easy task, Hall said, because Vinterberg’s screenplay was so dramatic and concise — all he had to do was “lift the movie gently into a new medium.”
Turnage said the music features some jazzy moments, like in his recent guitar concerto “Sco,” as well as lush strings reminiscent of old movie soundtracks. The opera’s set pieces, he added, include a grotesque arrangement of “Baa Baa Black Sheep” and a “drunken conga” in which the dinner party guests dance tipsily across the stage.
Because the music and libretto came easily, Turnage said, the hardest parts of making “Festen” work had fallen on Richard Jones, the director, who had to choreograph dozens of singers dancing, eating and arguing their way through the troubled evening.
Jones, who also directed “Anna Nicole,” said in an interview that 10 singers, portraying chefs and waiters, will serve the birthday party’s guests a real three-course banquet during the opera, and the singers would eat it onstage. The cast, led by Allan Clayton as Christian and Gerald Finley as Helge, will appear to drink continually, Jones said, and act progressively drunker.
The creative team and the Royal Ballet and Opera had tried to protect the performers as they dealt with the opera’s dark subject matter, Jones added. During rehearsals, Turnage and Hall replaced a song featuring racist epithets that appears in the movie after some chorus members said they were uncomfortable with singing those words. (The chorus now sings “Baa Baa Black Sheep” instead.). The company had also employed two drama therapists to counsel singers if they found the subject of child abuse troubling, Jones added.
To appreciate the broader message of “Festen,” the audience would have to look past the abuse, Hall said, and see that “the leitmotif of the whole project was our collective collusion in denial.” “Festen” is a broadside against pretending that problems don’t exist, rather than tackling them, he added — and that goes for subjects like climate change, as well as child abuse.
To highlight that, Turnage and Hall have tinkered with the ending. In the movie, the abusive father arrives at breakfast the next day, and gives a speech of his own, in which he tells his children he loves them, even if they now hate him. But one of his sons ushers the patriarch away.
In the opera, Hall said, the father’s comeuppance won’t be so clear.
If all the evening’s provocations weren’t quite enough, for movie buffs, that could be a sacrilege too far. Though not for Vinterberg. The director said he couldn’t remember whether Turnage had asked permission for the change. “But, whatever,” he added. “It’s hereby granted.”
The post In ‘Festen,’ a Nightmare Birthday Becomes an Opera appeared first on New York Times.
