A gothic opera double-bill with a feminist twist came to life at Clapton’s Round Chapel, just in time for Halloween this year.
The music in both 19th century French operas were originally composed by women – an important aspect for the Gothic Opera company, which performed the show.
For Béatrice de Larragoïti, artistic director and co-founder of the company, this speaks to the underrepresentation and lack of opportunities for women in opera more generally.
Le Loup-Garou (The Werewolf) is framed by a traditionally straight storyline, albeit with a vibrant and female-heavy cast. But Le Dernier Sorcier (The Last Sorcerer) brings to life the feminist ideology of the Gothic Opera company.
In these French-sung operas, “the women take power,” de Larragoïti says.
The story contains a group of female fairies who bring down the evil male patriarch who is polluting their beloved forest. A woman also plays a male character, a tradition that has been carried since the show was first performed.
In turn, a female-female relationship emerges on stage – an interesting feature of an opera that is “very much anchored in the 19th century”, de Larragoïti says.
This is the first time the Gothic Opera company has performed at Round Chapel. “We want to bring opera into a neighbourhood where it isn’t usually performed,” de Larragoïti said, “and Round Chapel has the character we are looking for.”
For these performances, the Round Chapel interior is dimly lit, casting the impressive organ which frames the archway into spooky shadow.
Le Loup-Garou (1828) and Le Dernier Sorcier (1867) were composed by Louise Bertin and Pauline Verdiot respectively. They were directed by Eleanor Burke and Edwina Strobl. The Gothic Opera company recognises that these French operas had been largely forgotten until now.
