Review: Scottish Opera – Tchaikovsky’s Heroines & Heroes

Opera lovers and newbies alike filled the stalls and front rows of the Grand Circle of the Usher Hall to hear extracts from Tchaikovsky’s operas ‘The Maid of Orleans’, ‘Iolanta’ and ‘Eugene Onegin’, performed by Scottish Opera soloists Lauren Fagan (Soprano), Josef Jeongmeen Ahn (Baritone), Daniel Barrett (Baritone), Robert Lewis (Tenor) and Natalia Kutateladze (Mezzo-soprano) and accompanied by the Orchestra of Scottish Opera, conducted and compered by their Music Director Stuart Stratford. So writes Sass MacDonald for theQR.co.uk…

Stratford gave a very engaging introduction to the programme, taking us back to Tchaikovsky’s own words, related – via two generations of academics – directly to him while he was studying in the late 1980s.

Apparently, there were aficionados in the audience – acknowledged by Stratford – who’d heard this story before, but for those of us who hadn’t, the ‘six degrees of separation’ theory couldn’t have been clearer and Stratford’s claim that we’d rather hear Tchaikovsky’s views than his own was endearing. A great story.

An On-Stage Orchestra

The Orchestra was excellent, as one would expect, and I did wonder how it must feel being so exposed on stage, when I guess they are more used to being in the pit, with the singers front and centre. More likely pleased to be up there in full view and they certainly played with all the feeling and sensitivity the pieces require.

The Orchestra was excellent, as one would expect, and I did wonder how it must feel being so exposed on stage

Natalia Kutateladze and Daniel Barrett were making their Company debuts. Kutateladze comes from a line of Georgian singers and has both stage presence and a magnificent voice. As with my pondering about the Orchestra, I wondered how it must feel to be on stage singing operatic arias but not acting them out. Kutateladze was mesmerising, no matter what. Barrett had much less time on stage, but made his presence known, both vocally and physically, swaggering across the stage and striking a nonchalant pose when not actually singing. He has a fabulous voice, as recognised as part of the Scottish Opera Emerging Artists programme 2025/26.

Voices to Die For

Korean-born Josef Jeongmeen Ahn, part of the Jette Parker Young Artists Programme of the Royal Opera House from 2022 to 2024, has a beautifully clear baritone voice and brought a whole gamut of emotions to the pieces he sang, mirrored particularly in his emotive facial expressions.

Australian Lauren Fagan has a voice to die for, hitting the high notes and keeping them going longer than you might imagine possible. Another Jette Parker Young Artist Programme graduate. She made a perfect Tatyana in the second half’s selections from ‘Eugene Onegin’ – and is going on to sing the part with Opera Australia next year.

Robert Lewis was a Jerwood Artist at the Glyndebourne Festival and cuts the very archetypal image of a great tenor: a Pavarotti in the making? He has so much presence, even before he starts singing, and his voice is truly magical. I was rapt.

A Feast for the Eyes…

A quick mention of the women’s dresses and the men’s suits. Kutateladze wore a striking black sheath dress, off the shoulder, with a drape used to great effect. Her one very long diamanté – diamond? – earring sparkled, though I did find it a little distracting. Fagan’s bright red confection gave her something to do with her hands – pretty helpful when you’re not actually acting while singing. She swished across the stage and the gauzy cape billowed behind her. Lovely.

Jeongmeen Ahn cut a dapper figure in a beautifully cut blue three piece and Barrett swaggered in his dark green velvet jacket. Lewis – à la Pavarotti – didn’t seem to care about the clothes and why would you with that voice? But I do wish he’d polished his shoes. Or at least someone had. But I wouldn’t have liked to be the person to suggest it to him. It’s all about the voice.

Australian Lauren Fagan has a voice to die for, hitting the high notes and keeping them going longer than you might imagine possible.

So, as to the performance as a whole? As an opportunity to hear some of the lesser-known Tchaikovsky operas – ‘The Maid of Orleans’ and ‘Iolanta’ perhaps – this is a great platform. To hear some rising stars on stage together is a joy and a privilege, especially with the Orchestra of Scottish Opera accompanying. Stratford’s introduction was interesting and enlightening.

I suspect a full opera staged here would be a complete sell-out, so a decent turn-out with some empty seats is perhaps indicative of some avid opera-goers giving it a miss and it not quite reaching an audience of ‘oh go on, let’s give it a go-ers’ who, like me, would have had a fabulous evening without feeling out of their depth regarding when to applaud.

Featured Image: Poster for Scottish Opera – Tchaikovsky’s Heroines & Heroes – Usher Hall