First thing I want to say: if you want to see this production, get your tickets now. They’re going fast and the production closes on 25 February 2025, which is right around the corner as I write this review. When you’re back, you’ll have time to read the rest of this.
Oh, good, you’re here, let’s talk more about why you might want to see this production. As you can see from the pics I’ve included with this review, this is a stunner. What starts out as a more or less seemingly simple set turns out to have trapdoors in many of the surfaces by set designer James Rotondo. What appears to be the Saraha Desert opens and opens and opens to the whole starry sky and everything beneath it. Lights and costumes (Sophie Tang and Judith Bowden) are achingly beautiful.
Earlier operas might have had choruses of angels—this has stars, as played by members of the Victoria Children’s Choir, who are conducted by David Stratkauskas. Their young and gorgeous voices are perfect, especially when singing with the principals, a rich sound which balances out perfectly.
That brings us to the score: Rachel Portman’s score is rich and complex though seemingly simple, in exactly the same way its source, Antoine de Saint-Exupéry’s illustrated novella Le Petit Prince, is. I’m told the French original is often taught in lower level French classes in the US—but it becomes more and more complex in meaning as it unfolds. In fact, in Nicholas Wright’s libretto, the second act in particular is a mystical experience when united with Portman’s lyrical music.
The singing throughout is exemplary. There were some intonation problems from the treble lead the night I saw it, though I suspect he is on the verge of a voice change, but the instrument itself is beautiful. I look forward to his future work.
Of the adult actors, all are wonderful including the character work of Andrew Love’s Pilot, Christian Sanders (Snake and Vain Man) and Emma Parkinson’s Fox. Andrea Núñez (Water) and Melody Courage (The Rose) were a joy to hear, and the comic trio of the Lamplighter, Businessman and King (Benjamin Butterfield, Marcus Nance, and Giles Tomkins) are well sung and lots of fun.
However, the appearance of a Drunkard as a comic character is a bit cringey at this point. The joke is roughly 80 years old; alcoholism, we now know, is a disease, not a source of humour. One could wish that scene to be cut in future productions.
If you know some young folks, or older folks who still know how to just plain enjoy themselves and forget all about being mature, bring them to Pacific Opera Victoria's production of The Little Prince, you'll love it! As someone who's been worried forever about whether or not opera might survive, let me tell you, it was so good seeing lots and lots of young folks in the audience, all the way from little boys and girls to tweens and young adults.
What a glorious way to find the joys of opera in its most playful mood. It took me a while to get my ears on right, but once I did, what a wonderful time I had—along with everyone else in the audience!