BEETHOVEN – I SHALL HEAR YOU IN HEAVEN

Opera Holland Park

★★★★

“a highly polished jewel that reflects the words and music – a sparkling blend that tugs at our emotions”

Allegedly Beethoven’s last words were “I shall hear in Heaven”. However fitting this sounds it is, in fact, an invention. It does epitomise his struggles with his deafness, though, and its lyrical mysticism is the perfect title for Tama Matheson’s play with music that explores the life of the German composer. It is a remarkably detailed look into, not just the pivotal landmarks of his journey through life, but also a glimpse into his soul. Particularly his frustrations, challenges, regrets and lost loves. In tune with the title, the tragedy of his deafness is given weight. To a lesser extent, but still emphasised, his self-inflicted ailments are brought to the fore. Beethoven’s actual recorded last words were “Pity, pity – too late” (another potential contender for the play’s title?) in response to an ill-advised gift of twelve bottles of wine from his publisher, despite cirrhosis of the liver being one of the reported causes of death.

Matheson’s account is faithfully chorological, and follows the twists and turns with a meticulousness that does lead to quite a long evening. Nearly forty compositions punctuate and underscore the spoken word, played by the ‘Quartet Concrète’ (violins, viola and cello) led by Jayson Gillham on piano. With a couple of exceptions, these are Beethoven’s compositions; some more familiar than others. The musicianship is outstanding and, against the Italianate backdrop of Holland House and surrounded by the park’s formal gardens, is truly magical.

We quickly learn that, for Beethoven, ‘art is not a choice’. Like his contemporary, Mozart, music was drummed into him from an early age by a tyrannical father. In a drunken state, Johann van Beethoven would beat the young Ludwig, ironically pushing him into becoming ‘another Mozart’. Nevertheless, Ludwig rose above this with passion and an iron will, even though perpetually riddled with self-doubt. The cradle-to-grave odyssey we are presented with is choc-a-bloc with dates, references, facts and embellished anecdotes. In danger of being over-expositional it is rescued by the fine performances of the trio of actors that tell the tale. Matheson takes on the role of Beethoven. A charismatic central performance with his rich voice, he is more than capable of displaying the passion of the composer. Robert Maskell is equally imposing as Franz Wegeler (among many other characters), Beethoven’s physician and biographer. Suzy Kohane gives a remarkable performance as fellow composer Ferdinand Ries – again slipping into many other roles.

The programme offers helpful subtitles, like chapter headings, against each of the musical composition’s descriptions, which does indeed help us through the concentrated twists of Beethoven’s life story. Described as ‘half music, half drama’, we are treated, among the potted history, to some beautiful music. It is rendered all the more remarkable, and tragic, set against Beethoven’s hearing loss. The play’s title does inform the central theme of his obsession with his deafness. An obsession that nevertheless fuelled his ambition and creative drive.

The second act adopts a lighter tone, with some moments of humour that could almost stand as comedy sketches in themselves. The English Chamber Choir, which strangely remained onstage throughout the first act without being used, opens act two. But is then again underused – given voice only once more. The overall balance of the show could be adjusted slightly – it is a very wordy production that sometimes lets our attention slip. Yet its style cannot be faulted; a highly polished jewel that reflects the words and music – a sparkling blend that tugs at our emotions. Passion is at its heart, and the passion with which Matheson approaches his subject is conspicuous. His choice of music is deliberate and considered, echoing and informing the plot. Like Beethoven himself was intent on breaking away from the established form, this show is a unique variation on the genre.

“There have been, and always will be, thousands of princes. There is only one Beethoven”. These are the composer’s own words. A touch self-aggrandising maybe, but it cuts to the chase. “I Shall Hear in Heaven” cuts to the core of the personality behind the composer, with elaborate insight and unforgettable music.