IOpera gives classic English opera The Turn of the Screw the full musical treatment in a suitably spooky production. 

In a canny use of resources, this very welcome season of Britten’s The Turn of the Screw is presented in repertory with Menotti’s short comic opera The Old Maid and The Thief. Playing upstairs at Athenaeum Theatre 2, the combined season has the perfect home with the tiered seating allowing for an intimate and comfortable viewing experience. 

For a space not often used for opera, the acoustics are surprisingly good. Diction for the English lyrics is uniformly clear and, as such, there has been no need for the production to provide surtitles. While the story of the opera is widely known, a re-reading of the synopsis is recommended for maximum enjoyment. 

When the new Governess arrives at Bly house, she is soon disturbed by odd behaviour from Miles, brother to Flora. Housekeeper Mrs Grose tells the tale of previous staff members Peter Quint and Miss Jessel, both now deceased yet quite possibly not having moved on from the surroundings.

While the budget of production is understandably modest (based on the very short season), it is clear that nothing was spared in presentation of the music. Maestro Peter Tregear leads a full complement of 13 musicians in an exacting and pleasingly detailed performance of Britten’s intricate score. 

Each of the six highly talented singers give their all to the performance, and are expertly prepared by Tregear. With the orchestra on stage behind the action, the singers have only a small rear monitor on which to follow Tregear, making the quality of the synchronisation of music and voices all the more impressive.  

With the opera neatly arranged in two acts of eight scenes each, the orchestra is given highly important bridging music before each scene, portending the coming action with variations on a theme. Performance of these interludes is particularly strong.

Director Robert Macfarlane provides an ingenious framing device for his updated staging, bringing the traditional Victorian setting of the opera forward to the late twentieth century. Spoilers would lessen the impact of the concept, but it is suffice to say that the traditional Prologue is sung by a psychiatrist with a patient on their couch.

The close confines of the performance space add to the deliberately unsettling atmosphere, with lighting designer Anton Brouwer making solid use of shadows and spectral silhouettes. Clever use is made of torches to cast the performers in eerie light. 

Macfarlane places an old fashioned television set centre stage, which displays video images he has designed to add context and additional disquieting images to the scenes. Snowy static is also used, giving a visual connection to classic haunting thriller Poltergeist.  

Macfarlane clearly has all six performers working as one, drawing strong acting performances to complement the very high quality of the singing. Trusting the maturity of the audience for the season, Macfarlane makes the romantic relationship of Quint and Miss Jessel very clear in a vivid sexual scene at the top of act two

Act one comes to a curious conclusion. As the music concludes and the actors depart the stage, a stage hand pounds at the theatre door, and enters to move the stage furniture while repeatedly reciting a line form Yeats’ 1920 poem The Second Coming: “The ceremony of innocence is drowned.” This moment left the audience stupefied but became a little clearer when the line was heard sung in the first scene of act two. 

Soprano Elena Xanthoudakis anchors the opera with a sumptuous vocal performance. Xanthoudakis takes the Governess on a brisk spiral from wide eyed optimist to ill-fated heroine, commanding attention in her every stage moment. 

Roberta Diamond returns to Melbourne to play the ominous youth Miles. Diamond distinguishes her young character from the others with a gentler projection. Beautifully expressive throughout the opera, Diamond’s singing of “Malo” is particularly plaintive. 

Diamond is well partnered by Breanna Stuart as Flora, with Stuart sweetly portraying the one character not fully focussed on ghosts. Stuart sings the role with ready flair and bright expression. 

Local soprano Amanda Windred brings a kindly disposition to weathered housekeeper Mrs Grose. Windred elevate the featured role with wonderfully full-bodied vocals. 

Accomplished soprano Lee Abrahmsen is luxury casting indeed for tortured spirit Miss Jessel. Leaving the audience wanting more, Abrahmsen distinguishes her role with reliably exquisite vocals. 

Director Macfarlane takes the sole male role of Prologue and Peter Quint. In a neatly understated performance, Macfarlane sings with sterling quality and adds sinister menace to all his scenes. 

With Halloween still weeks away, The Turn of the Screw provides the chance for an early start to the scaring season. Opera lovers were in attendance in full force on opening night, and attendance at the second and final performance is highly recommended. Future engagements from IOpera are eagerly anticipated.

The Turn of the Screw plays again at Athenaeum Theatre 2, Melbourne 4.30pm Saturday 20 September 2025. For tickets, click here.

The Old Maid and the Thief is staged in repertory, playing 7.30pm 18 September and I.30pm 20 September 2025 at Athenaeum II Theatre, Melbourne. For tickets, click here. 

Photos: supplied