The premiere of 'Death of Gesualdo' at St Martin-in-the-Fields in London proved to be a chilling and utterly compelling theatrical experience. This unique production, created by director Bill Barclay and performed by the acclaimed vocal ensemble The Gesualdo Six, delves into the twisted life and revolutionary music of the Renaissance composer Carlo Gesualdo.
A Tale of Murder and Musical Genius
The narrative explores the dark duality of Gesualdo's existence. He was a 16th-century Italian nobleman who achieved infamy for murdering his wife and her lover. Following this, he retreated into a life of seclusion marked by flagellation and alleged witchcraft. Simultaneously, he composed vocal music of such daring harmonic invention that it sounds startlingly modern, almost alien, to contemporary ears. The production forces the audience to confront this unsettling juxtaposition head-on.
Stylised Storytelling in a Church Setting
Co-commissioned by the church, the performance used the dimly lit nave of St Martin-in-the-Fields to powerful effect, adding a palpable frisson. The story begins in 1611 at Gesualdo's deathbed, unfolding in flashback. Actor Markus Weinfurter portrays the adult composer with gripping intensity, eliciting a complex sympathy. He is supported by five silent actors, choreographed by Will Tuckett, who embody other figures in Gesualdo's life through stylised gestures, forming striking tableaux vivants.
The visual design, with costumes by Arthur Oliver and lighting from handheld LEDs, bathed the performers in an oil-painting-like glow, reminiscent of Renaissance art from the nearby National Gallery. A puppet represents Gesualdo as a child, a device that returns for a poignant final image.
The Haunting Power of Gesualdo's Music
At the heart of the experience is the sublime singing of The Gesualdo Six. With their eyes blackened, they performed selections from Gesualdo's madrigals and his Tenebrae responses with impeccable precision, pure tone, and deep expression. Led by bass Owain Park, their singing weaved an almost hypnotic spell, broken only by a jarring, violent outburst depicting the murders.
This show is a masterful and deeply creepy juxtaposition of beauty and horror, mirroring the essence of Gesualdo's own work. It is a stylish and unsettling examination of a genius mired in madness. Following its London premiere, the production travels to the National Centre for Early Music in York for performances.
