Charming, if unvaried retelling of children's classic...
An opera lover must be heartend when a major film composer decides to write an opera. It's doubtless less financially rewarding than writing film music, but still composers are drawn to this parallel form of musical story telling.
Unlike alpha-male symphonic film composers like John Williams or James Horner, Rachel Portman's scores have always maintained a certain delicacy--a certain distance from the writings of the old masters, and here she provides us with many charming and beautiful scenes. A smaller orchestra is employed, and much of the music has an impressionistic quality, with many plaintive solos for flute and oboe. Truly lovely melodies also emerge from the essentially through-composed work.
Yet Ms. Portman's unfamiliarity with operatic writing also shows through. First and foremost, I had a certain feeling of monotony. Each scene is beautifully scored, but how many times can one sing "Danny Boy" befoe one becomes sick of it? There was very little musical distinction between scnes. Secondly, the orchestral writing was much finer than the vocal writing, which often seemed repetitious and unimaginitive.
The fact that a boy soprano sings the lead shows a break with operatic tradion. In the end, this seems very much like a children's opera...though one that, like the beloved book upon which it is based, deals subtly with the meaning of love and death.