It’s no secret that Sydney Chamber Opera, whose production of Elliott Gyger and Pierce Wilcox’s Fly Away Peter premieres at Carriageworks this May, operates on a tight budget. But this does not faze director Imara Savage: “In stripping a piece to its essentials, you work out what it’s really about; you couldn’t at the last minute decide that you wanted an elephant on stage,” she says. “With the right creative team, you can realise a piece without doing a B-grade version of what you’d imagined.”
With or without elephants, Savage is clear about the attraction of opera. “It’s never set in a kitchen; opera doesn’t live in the world of naturalism,” she says, with a laugh. “Fly Away Peter is an epic piece with much that is ephemeral and unknown about it, and I love the challenge of that.”
For emerging directors, there are very few opportunities to direct opera in Sydney. Savage, who has directed Britten’s Owen Wingrave and Philip Glass’ In the Penal Colony for SCO, considers herself lucky to be able to work for the company
“SCO does innovative, exciting and super challenging work, musically and in terms of staging,” she says. As a director she learns from all the productions she directs, but she’s learned the most from working for SCO. “They pick such hard pieces! “ she says, laughing again. “In the Penal Colony and Owen Wingrave had not been staged in Australia for a reason; they’re really hard pieces to do. You look at a project and you think, this is really challenging. But this company doesn’t seem to think like that; they think, ‘Wow! This is really difficult! We’ll do it!’”
In Fly Away Peter, not having a libretto or the full orchestration of the music to use in preparation was Savage’s biggest challenge. Usually, her process would involve taking the score, getting a recording of it and listening to it many times, so that when she walks into the rehearsal room she knows the opera backwards.
“This has been a different process. We received the opera in segments. I put my faith in [conductor] Jack [Symonds], who played each part for me and talked me through the instrumentation.” SCO has a history of staging new opera, so although Savage had not worked in this way before, the company had. “They took me through a process that they’d already experienced. “
Conceptualising the piece was, once again, a new experience. “We were creating the directorial concept before we had all the music, in conjunction with Elliott Gyger, the composer,” Savage says. “We knew what the shape of the piece would be, but usually you pick away at the music and libretto in great detail to find out what the concept is going to be.”
Savage had to rely on the novel instead. “What struck me about it were the landscapes: the piece starts in a bird sanctuary in Queensland and ends in the trenches in Europe. [Designer] Elizabeth Gadsby and I had to decide how to create a space that would encompass the transformation of landscape from a place of sanctuary to a place of death.”
In picking a designer, Savage was guided by her instinct that the opera needed an elemental set that was almost like an installation. “Elizabeth comes from an installation background. She had the right sensibility and aesthetic for this piece. “
David Malouf encouraged the Fly Away Peter creative team to find an expression of the novel’s themes suited to the new medium. One of the things they decided to do was not to be literal about their depiction of the horrors of war. Savage says: “The novel’s images have been condensed so that you are hit with them almost one after the other, in a fractured and fragmented kind of way. The opera is like an expressionistic nightmare rather than like a TV drama.”
Carriageworks offers SCO a small, intimate and atmospheric space with an acoustic suited to chamber music, even though it’s a box with no wings and none of the big theatre conventions.
Savage is unfazed. “You play to its strengths,” she says.
