Second Movement’s Rough for Opera series is a vital part of London’s operatic life-cycle. Of the spurt of showcase events throughout the capital in the past decade, Rough for Opera’s is now something of a flagship, an exemplar. An established series, it exists as a platform apart from the work and artists on show. It also benefits from being professionally run, and from operating in a well-equipped theatre that can deal with manifold musical or dramatic whimsy.
December 5th saw the fourteenth presentation in the series. We had come to see and hear Martin Ward’s The Sinken Sun (pictured above).
Putting the experience of a successful career writing for both lyric and straight theatrical stages, Martin (writing both music and text) has picked out an angle on his interest in the life of writer John Clare. This two hander takes a look at Clare from the perspective of the man and through the eyes of a contemporary reader, so opening up a point of view about the endurance of art, the communicability of spoken word – sung here, of course, the natural medium for the meter of Clare’s text.
With carefully prepared parts and good singing from the soprano (Billie Robson) and baritone (Paul Sheehan) and staging marked only with the most simple lighting and costume, the text and its rigorous setting were the constant focus. As pianist James Young pointed out in the subsequent Q&A, Martin Ward’s music has a horizontal profile. The lyricism is in the lines. The harmony is rather wild, a reflection of the untamed countryside, the situation of text and opera, but the sung lines chart a course through it, aesthetically and narratively.
This was a strong excerpt of a promising work-in-progress. You can see a video of the opera at this stage of its development via Martin’s website here.
A version of this post first appeared on Song Stage & Story.