Review: Opera 5's SUFFRAGETTE

Written by women, created by women, performed by women. Featuring two one-act operas by Dame Ethel Smyth, Fête Galante and The Boatswain's Mate, SUFFRAGETTE, presented by Opera 5 is a rare undertaking for classical music - but it shouldn't be.

The title of the production may be misleading - the operas themselves do not specifically deal with the women's suffrage movement. However, it's not the work itself that is presenting inherently feminist themes, but the process involved in creating it. Written by a female composer and librettist, Dame Ethel Smyth was the first woman to have her own opera produced at the Metropolitan Opera. Also a member of the women's suffrage movement herself, Smyth would eventually compose the movement's anthem, "The March of the Women".

In Fête Galante, we are invited to share in the celebrations of an exclusive party at the palace of a King and Queen. The inebriated guests gossip, the King flirts, the Queen cheats. False blame and suspicion arise. Fête Galante is short and sweet. The music, though not very memorable, is easy enough to listen to. Ensemble numbers glide throughout the piece with tight harmonies. Elizabeth Polese stands out with strength in voice and in her portrayal of the opera's leading lady, Columbine.

The second half presents the operetta, The Boatswain's Mate. Mrs. Waters (Alexandra Smither), the owner of a downtown pub, has been refusing the romantic advances of Harry Benn (Asitha Tennekoon). In an attempt to win her love, Harry creates a plan with a soldier, Ned Travers (Jeremy Ludwig) to scare Mrs. Waters during the night, allowing Harry to come to her rescue. The plan is foiled when Mrs. Waters, bat in hand, steals control of the situation - becoming attracted to Ned in the process. This opera seems a better fit with the SUFFRAGETTE title. Mrs. Waters is the perfect example of a well-written female character - strong, clever and independent. Also fitting are the references in Harry's comedic aria to man's inability to deal with an independent woman - making excuses for her behaviour, "maybe she's shy? For without a man, a woman is lost."

The production is less focused on its presentation of feminism than one would expect with its title, SUFFRAGETTE - however it is an opportunity to hear two of the few early-twentieth century operas written by a woman. With an all-female production team, Opera 5's SUFFRAGETTE is an impressive endeavour, that shouldn't have to impress us - because it's 2017.

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