Glare - The Future of Opera Looks Bright

A blinding light descends on the crowd, momentarily dazzling us. In that moment, the world of this production descends, transporting us into a dystopia, disconcertingly similar to our own, where nothing can be taken for granted.

Glare tells the story of Alex (Amar Muchhala) and his relationship with new girlfriend Lea (Sky Ingram). After a bitter break up with ex Christina (Clare Presland), everything seems to be going extremely well with Lea: in fact, too well. Uneasy, Alex talks to friend Michael (Ashley Riches) about her. Michael, a scientist in the Futurology Laboratory reveals that she is literally perfect, a Learning Exposed Android or LEA that he designed specifically for Alex’s pleasure. Initially appalled by this unbelievable suggestion, the possibility of its truth starts niggling on Alex’s mind, causing him to start distrusting everything Lea does. In this psychotic downward spiral, his whole reality is thrown into doubt, culminating in a horrifying climax.

I was apprehensive in the run up to this opera; the synopsis sounds less than convincing – a story of a man dating a robot. But as soon as it started, I knew I was completely wrong. The sci-fi thriller is not that simple; asking questions of reality, identity, authenticity and perfection, it makes us analyse our modern world and all its hypocrisies. “If we expect perfection all the time, don’t we always have to live in disappointment?” Is it something that even exists?

The Royal Opera House definitely saw something in Danish composer Søren Nils Eichberg. He has created an innovative sound world that cleverly augments Hannah Dübgen’s libretto, interlacing pre-recorded electronic textures and nightclub beats with orchestral instruments utilized in new, inventive ways. This was the highlight of the work for me – I had never heard anything quite like it. As the familiar voices of clarinets distorted into unfamiliar synthesized timbres, you were left completely doubting what you heard in the first place; it was genius. Coupled with long shadows and stark neon lights, you never felt settled in your seat.

Surprisingly rare for opera, the true intentions of the work were not muddled by extraneous characters or a needless interval: just a simple four-person cast executing a quick succession of scenes for a straight 75 minutes. But for such a cut back production to work, you also need performers who can carry this metaphysical weight. Sensitively portraying her character with ethereal vocals, Australian soprano Sky Ingram was impeccable. And so were the others, convincingly embodying their characters so that the implications of the production were never lost.

In our modern world of Facebook and Twitter, where we are constantly constructing an idealized identity of ourselves, creating a narrative that is most attractive to others, questions of perfection and reality are poignantly relevant. Glare proves that opera has a place in this world. And despite somewhat stalling from its frenetic pace half way through, this exciting and vivacious work masterfully blends sound and lighting to ask these key questions. And is that not what art is for, altering perspectives and disquieting us from our comforts? If so, this opera did an excellent job at it.

Glare is at Lindbury Studio Theatre until 22nd November. Tickets from £8