Hohepa - a great but flawed opera

Hohepa by Jenny McLeod
NBR New Zealand Opera
Opera House, Wellington
March 17th

The clash of Maori and European cultures has been the subject of a number of books, plays and operas. The many themes offer a reflection on our history as well as bringing an understanding to contemporary issues.

Jenny McLeod's new opera Hohepa - like Witi Ihimaera’s Trowenna Sea - examines the issues of land; ownership, spiritual connection, personal and historical connections

The opera which is set in Wellington and Tasmania in the 1840’s tells the story of Hohepa Te Umuroa. Identified as a rebel by Governor Grey he is arrested and sentenced to hard labour in the convict colony of Tasmania.

There is an interwoven tale of his friendship with the English colonist Thomas Mason who farmed in the Wellington area on confiscated land. Mason also goes to Tasmania where he meets Hohepa and takes an interest in the injustice the man has suffered.

The stories are bookended by the events surrounding the return of Hohepa's remains to New Zealand after 150 years internment in Tasmania.

The opera has all the qualities to make it a great opera the story, the music, the characters, the singers and the designers.

It records the various events around the early Land Wars, the experience of Europeans and Maori as well as the treatment of those Maori sent to the penal colonies in Australia. Along with the recitatives, arias and choruses which tell these tales there are also metaphorical descriptions which add another dimension.

The elegant modernist score has some rich descriptive and emotive music providing a great background to the work and the singers. With its touches of Benjamin Britten it has the capacity to draw in an audience.

Unfortunately the music and descriptions present a confusion of detail which makes the story and the metaphorical passages insubstantial. To give the work the dramatic and mythic quality the opera deserve there needs to be a spark of real emotional, human connection.

The problem is that there is not enough tension built between the main protagonists or within the events which happen. There are opportunities to have dramatic and emotional duos and trios but these never occur. There are intense dialogues but these don’t focus on the individual characters expressing their feelings. We never discover the heart or soul of these people..

The singers are the best part of the opera and they give some stand-out performances. Deborah Wai Kapohe is superb as Hohepa’s wife, Te Rai. Her singing of “Dark Rivers” with the chorus was very atmospheric and moving. Phillip Rhodes as Hohepa gave a strong performance with an expressive voice while Rawiri Paratene was commanding in his various roles.

Jenny Wollerman and Nicky Spence were accomplished as Jane and Thomas Mason their duos having a delightful blend of drama, familiarity and wit.

Jonathan Lemalu brought a consummate acting style and delivery to his part as Te Kumete while Martin Snell’s Governor Grey was handled the caricature role well.

With a few structural changes, some narrative editing and more tensions creating interchanges this could be a profound and poignant opera.