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ON THIS MONTH: MUSICLa Dafne‘A #metoo tale of its era’“The closest natural human sound to opera singing,”says internationally acclaimed stage directorThomas Guthrie, down the phone from Barcelona’sBarrio Gotico, “is actually a baby crying.”Thomas is in the Catalan capital in order to directVerdi’s Aida, at the Gran Teatre del Liceu, whichis about as big as it gets, opera-wise.But he’s talking to Viva about his subsequentproject, of a rather smaller nature: a performancein February, by young musicians, atHove’s Old Market, of Marco da Gagliano’s littleknown 1608 opera La Dafne.“It’s great to work in a space like the Liceu,” hesays. “But my work is the same wherever I doit. It’s important to make the work interestingand fun – to bring it to life – however big thestage, however much or little money you haveto spend.”He likens his job to that of a film director: “theconductor deals with the music you hear, I dealwith everything you see,” he says.La Dafne is a Brighton Early Music Festivalperformance, and Thomas is a big fan of thatinstitution. You might remember his staging ofMonteverdi’s Orfeo, reset in the 60s Brighton ofthe Mods and Rockers, also at the Old Market,which received five-star reviews.He’s not worried that the obscure nature of thelatest work will limit the audience to baroqueopera aficionados, few, let’s face it, in number.“Deborah [Roberts, BREMF founder and director]has done enough brilliant work to build up anaudience who are going to trust her – and trust us– to give them a good ride,” he says, hoping thatthe familiar faces will be bolstered by audiencemembers looking for something a little different.And La Dafne, one of the very first pieces of workidentifiable as ‘opera’, is certainly unusual. Thelibretto is an adaptation of a tale from Ovid’sMetamorphoses, itself a retelling of an old Greekmyth. The ‘Dafne’ of the title, a young nymph,attempts to escape the lecherous clutches of theall-powerful god Apollo, eventually maintainingher chastity by turning into a tree. “Being a mythit’s the sort of story we can all relate to,” he says.“You could say that it’s a #metoo tale of its era.”It’s not the sort of opera you’d search out onSpotify for a bit of background music, he admits.“But in my opinion opera is both a visual and anoral medium – it’s not either, it’s both, and whenthey come together to tell a story, the whole thingcomes to life, which is a unique thing.”And as for the baby-wailing analogy: “It’s somethingwe all have hard-wired into us. Babies don’tcry all the time, it’s usually life or death. If theydon’t get attention, they don’t survive. And operais usually very much about human need. Combinethat sort of sound with a great story, and that’swhy the medium is enduringly popular.”Alex LeithThe Old Market, Feb 8th–9th, theoldmarket.comPhoto by Theresa Pewal39