Beatrice and Benedict – Irish National Opera – Review
by Brian Merriman

Composed by Hector Berlioz based on the comedy by William Shakespeare.  
October 1st 2024, at the National Concert Hall. 
Running time: 105 minutes plus interval.

The enduring classic Shakespearian comedy ‘Much Ado About Nothing’  is set in Messina and features the antics of two romantic pairings. One couple ‘Hero and Claudio’ are in love (though tested) as are the other couple; our title roles of Beatrice and Benedict, except they don’t yet realise it.  In the title of the 1599 play, ‘nothing’ has also been written as ‘noting’ meaning rumour, eavesdropping and gossip.  The title’s play on words references the secrets and trickery that form the backbone of the play’s comedy, intrigue, and action.

Such was the Bard’s endurance, that over 260 years later, Hector Berlioz set the subplot of the main play to music in ‘Beatrice and Benedict’. His reputation for romance is well established and there are some glorious melodic examples in this beautiful score, that trips with ease from light comedy to deep emotion.

INO have yet again added to its reputation for quality work with this staging of the version edited by Hugh MacDonald. It is a delightful piece set up from the start with some light-hearted touches, that not only put the audience at ease but ensured that the enjoyment of the text could still equal the beauty of the score. Despite the lighter mood, one was never in doubt that they intended to do the work brilliantly and joyously.

Berlioz’s lush score was played and interpreted by the full orchestra, under the energetic and sensitive direction of Conductor, Ryan McAdams. He was a tour de force throughout, full of physicality, gusto and empathy. The 32-strong INO chorus continues to excel under Richard McGrath.

Casting is critical, not only to Opera’s success but also to connecting this ancient art form with contemporary audiences. In the week Maggie Smith passed away, we were treated to the celebratory presence and theatrical eloquence of Narrator, Fiona Shaw. Shakespeare is a joy to her and one she conveyed with humour and great skill, whether playing snippets of the scenes or delivering the best ‘potted Shakespeare’ plotlines throughout the evening in a clever script. It was clear she loved not only the original play but this production of Berlioz’s illuminating score.

Berlioz is a romantic, his scoring and composition is rich and layered. He composes so well for the female voices. His finale Act One duet between ‘Hero and Ursule’ was sublime, only to be rivalled by the trio of exquisitely blended female vocalists, where Niamh O’Sullivan’s ‘Ursule’ matched the beauty of ‘Hero’ Anna Devin’s effortless soprano and the emotional tone of ‘Beatrice’ Mezzo-soprano, Paula Murrihy. Murrihy and Devin’s solo work did full justice to the challenges of the demanding score, giving the evening many highlights. When the three singers joined together, there wasn’t the sound of a pin dropping, such was the richness of these blended voices, matched by the glorious orchestral accompaniment.

The men (who don’t behave themselves well in this plot) don’t get as much opportunity to shine in the score, but when they did they took full advantage. David Portillo’s (Benedict) warm tenor voice was a perfect fit for the reluctant lover, full of bravado. John Molloy’s bass-baritone (Samarone) took every opportunity to lighten the plot and was also an able foil in Shaw’s original dialogue snippets.  Baritone Paul Grant’s ‘Claudio’ and Padraic Rowan’s Bass-baritone mirrored the fine tonal blending achieved in the female works.

When one considers the work that went into staging such a quality production, on top of the years of training and commitment from singers, actors and musicians alike, to have such a treat for one night only, seems so underappreciated.

The need to support INO and to encourage the next generations to experience such quality artists is ongoing. The National Concert Hall’s rafters rang out the approval of the cheering audience, who realised that yet again, INO has made much ado about quite a lot! It deserves to be seen again.