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Freeze Frame Opera at Fremantle Prison’s East Workshops for their latest pastiche, The Impossibles

Headshot of David Cusworth
David CusworthThe West Australian
Tommaso Pollio, Rachelle Durkin, Penny Shaw, Hattie Marshall, Elena Perroni, Lachlan Higgins, Ashlyn Tymms and Jun Zhang present The Impossibles for Freeze Frame Opera at Fremantle Prison East Workshops.
Camera IconTommaso Pollio, Rachelle Durkin, Penny Shaw, Hattie Marshall, Elena Perroni, Lachlan Higgins, Ashlyn Tymms and Jun Zhang present The Impossibles for Freeze Frame Opera at Fremantle Prison East Workshops.

Fremantle Prison’s East Workshops was an unlikely venue for Freeze Frame Opera’s latest pastiche, The Impossibles, but the title reflects the fact every operatic scenario is at best improbable; on and off stage.

Soprano Rachelle Durkin, towering in figure and voice, opened with Sempre Libera from Verdi’s La Traviata – the tragedy of a courtesan falling in love. It’s a dilemma as stark as the setting: a silver backdrop hung on harsh prison walls offsetting the tenderness behind the song.

Durkin faced her own impossible dilemma in COVID-stricken New York last year, scrambling home to WA in time for a New Year’s Eve triumph at the Concert Hall.

She was joined in the Verdi by Jun Zhang, popping up from the back of the auditorium.

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During last year’s lockdown Freeze Frame became wandering minstrels on driveways and verges across the suburbs, often launching with Verdi; Zhang’s light tenor giving it voice.

More often than not Tommaso Pollio was accompanying on keyboard by the roadside, but at Fremantle Prison he had the luxury of a grand piano with a roof and four walls.

Next up, Freeze Frame founder Hattie Marshall found extra depth to her dulcet soprano as Catalini’s La Wally, the fine balance between her voice and Pollio’s piano at the heart of this kaleidoscopic group.

Zhang returned for Rossini’s La Danza, another party piece ideally suited to his timbre, answered by Ashlyn Tymms’ melodramatic mezzo in Amour! Viens aider ma Faiblesse, from Saint-Saens’ Samson and Delilah.

Tymms, another local talent returned to WA, brought compelling presence, rich expression and full tone to the role.

She did the same in a playful duet with Durkin, Prendero Quel Brunettino, from Mozart’s Cosi fan tutte — beautifully intoned harmonies matched by physical humour — and to a wildly coquettish Habanera, from Bizet’s Carmen — lasciviously teasing the audience, with a hint of a pussy cat growl.

Jun Zhang and Elena Perroni sing the love duet, Vogliatemi bene, from Puccini’s Madama Butterfly.
Camera IconJun Zhang and Elena Perroni sing the love duet, Vogliatemi bene, from Puccini’s Madama Butterfly.

Elena Perroni, like Durkin a WA refugee from New York, followed with I Want Magic, from Previn’s A Streetcar Named Desire; the first blush of her lush soprano florid yet clear with effortless dynamics, power defying her stature.

She teamed with Zhang for the love duet from Puccini’s Madama Butterfly. Starting alone she summoned Butterfly’s vulnerability, merging with Zhang to claim the heights of passion and music, by turns intimate and exuberant.

Perroni later reprised the role for Un Bel Di, the opening note of doomed hope tracing the bittersweet arc of opera; bright vision in a soaring melody subsiding to despair.

A love-song medley rocked out the first half — My Heart Will Go On, Songbird, and I Will Always Love You — sung in Italian to Pollio’s arrangement.

Durkin led again after the interval, her voice dazzlingly gymnastic in Ma Quando Tornerai from Handel’s Alcina.

Marshall followed with a flourish in “the shortest aria from the longest opera”, Du bist der Lenz, from Wagner’s Valkyrie.

Durkin next joined Perroni for Rossini’s Cat Duet, a chorus of miaos playing out a feline fight, eyes flashing, stalking and pouncing; their final flourish a chilling reminder of late-night backyard squalls.

Then Penny Shaw, who spiced the night with wit and wisdom as MC, joined Tymms and Marshall for Je Vais, from Berlioz’ Beatrice et Benedict; two colourful sopranos and a mellow mezzo mingled seamlessly, lullaby-like in the cadence.

Shaw cracked the big time with West Australian Opera last year, as Despina in Cosi fan tutte; stepping up again to host Opera in the Park this year as the pandemic gripped the rest of the opera world.

But she never got to sing in the park, so reclaimed the night in Freo.

Lachlan Higgins sings for The Impossibles for Freeze Frame Opera at Fremantle Prison East Workshops.
Camera IconLachlan Higgins sings for The Impossibles for Freeze Frame Opera at Fremantle Prison East Workshops.

Enter baritone Lachlan Higgins, a WAAPA final-year student, for Gilbert & Sullivan’s Modern Major-General (Pirates of Penzance); sung with gusto but theatrically inflected in the D’Oyly Carte tradition.

He followed with The Impossible Dream, from Leigh’s Man of La Mancha – more warmth and easy charm; and maturity in characterisation.

Last on the program was the triumphant Nessun Dorma, from Puccini’s Turandot, its concluding “Vincera!” infused with the spirit of a valiant comeback from May’s most recent lockdown.

In encore, the cast returned to Traviata and Libiamo, a leitmotif of the era; “may the fleeting hour be intoxicated with pleasure”.

Freeze Frame are on the stage at Kidogo Arthouse, Fremantle on Sunday, June 27, at 6pm; and from August 20-28 present Puccini’s Suor Angelica and Gianni Scicchi at Claremont Showgrounds.

www.freezeframeopera.com.

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