Henry VIII by Saint Saens

First performed in Paris in 1883, this nowadays little-known opera was almost as popular as Samson and Delilah. It deals with Henry VIII’s burgeoning love for Anne Boleyn, and his casting off of his wife Catherine of Aragon, achieved finally by his split from the church of Rome. High drama and fine music meant we were in for a treat in this rare chance to experience this work.

Holy Trinity is a splendid Georgian church at the centre of Guildford life, and makes a splendid venue for an opera such as this. The gold filigree-patterned rood screen at Holy Trinity meant that little scenery was needed. Some greenery was supplied in Act 2 to suggest the gardens at Richmond Palace, otherwise the church was ideal for a palace and for Westminster Hall.

A fine programme, with excellent graphics, evocative pictures of Henry and his court, and palace, and a lovely yellow Tudor flower-strewn backdrop to many pages, the Tudor rose in evidence on each page, made this a visual delight. An excellent Director’s note, detailing how the themes resonate today in our Brexit dilemma, as well as providing details of the work’s history and musical style. A fascinating piece on that interesting composer, Saint Saens, also enhanced our enjoyment of the production. Good cast and directors’ profiles, a list of past productions, an exhortation to ‘come and join us’, cleverly made more enticing by the inclusion of quotes from new members who have joined in the last year, made this a really good read.

Marvellously sumptuous costumes were sported by all at court. Little details delighted, like Don Gomez’s cloak, the Duke of Norfolk’s hat. I was stunned by the gold costume of Henry VIII, and by the splendour of Catherine of Aragon’s pink gown. The Tudor headdresses were amazing and beautiful, and I read later in the programme that these were created and crafted by the obviously very talented Puri Riveiro. Even the footwear was impressive, with jewels, buckles and braid. A great deal of effort and imagination went into these costumes, and I must say it was well worth it, a feast for the eyes.

Musical Director Lewis Gaston chooses for Holy Trinity productions to have no orchestra, but a piano accompaniment. In my opinion this works very well indeed. The focus is then on the voices, the harmonies of soloists and chorus, and with Saint-Saens this was just right. The very talented pianist Judith Flint was in action throughout the piece, and delighted us with her sensitive accompaniment.

What a privilege to be able to enjoy this rarely performed opera, so well directed by Peter Melville, who also translated the libretto, and so well performed by the cast, excellent performances throughout. I will just single out for particular praise Simon Wilson, who commanded the stage as King Henry - his looks; gestures; body language; stage presence; so fine in voice, I could not imagine a finer King. Then I must praise Olive Murray, who gave us a sensitive and yet powerful Catherine of Aragon, with so sweet and strong a voice. Caroline Carragher was a brilliant Anne Boleyn, flirting with her sweet smile and demure behaviour, scheming, squaring up to Catherine, still smiling but a different smile here. The power play between Catherine and Anne was exceedingly well portrayed by both, nuanced and yet crystal clear.

This Saint Saens opera is a great psychological drama, and it speaks for GOC that its cast brought all its dramas across to us so very clearly.  We saw the dilemma of Anne’s lover, Don Gomez, (Kevin John), watching in desperation and fear as Anne is snatched away by the all-powerful and ruthless Henry, knowing there is little he can do, though he loves her dearly.

We saw the relationship between the faithful Queen Catherine and her King. He does still seem to recognise her as a woman worthy of respect, whilst agonising over the lack of a male heir, and longing for the new relationship with the beguiling Anne.

Anne herself, at first committed to Don Gomez, then as newly installed Lady in Waiting treading carefully in her relationship to the Queen, then realising that she could have it all as Queen herself, yet somewhat fearful of what might befall her. Flirtatious yet confused, demure yet scheming.

Complex roles, yet all this came across very clearly in these masterful performances.

As always with Guildford Opera, the chorus raises one’s spirits with delightful harmonies. The ensemble pieces lifted the roof. A fine love duet between Anne and Henry stays in my memory.

Lewis Gaston’s musical direction, and suggestion I believe that the company perform this piece, prove what a fine asset he is to this company.

The Synod scene, the climax of the opera (as performed here, as GOC shortened the work) was an electrically charged piece of high drama, full of soaring, wonderful music. Once again, great acting from Simon Wilson and Olive Murray as the anguished Queen Catherine. I feel it is rare to see such characterisation in an opera, and to see this so well performed is a great privilege indeed.

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