Operatic Landscape: Scottish Opera Young Company's new double bill

In the vibrant landscape of Scottish performance and culture, Scottish Opera Young Company stands as a beacon of creativity and innovation. This month, this year’s group of young performers captivate audiences with their unique adaptations of Henry McPherson's Maud and Kurt Weill's Down in the Valley. In conversation with director Flora Emily Thomson, it is evident that the company holds an unwavering commitment to nurturing new talent and exploring the varied depths of human experiences through operatic performances. The company has spent the last eight months creating and constructing a world that seamlessly blends rustic charm and magical energy, with an ominous undercurrent of unusual social dynamics.

The two pieces complement and contrast each other, working in tandem to form a larger concept. "On the surface, they look incredibly different. However, upon closer readings they have really strong themes around mob mentality," reveals Thomson. However, they differ temporally, and they move through a semi-mystical past into a more current and recognisable present. Through this, the productions provide a canvas for the young performers to infuse with their own experiences. Thomson wants us to question how we would act in similar situations, connecting the performance to daily dilemmas.

Thomson draws inspiration from the island of St. Kilda and its rustic, magical energy. In 1930 the island of St. Kilda in the Outer Hebrides was voluntarily evacuated, which serves to remind us of how places, although beautiful, can become uninhabitable. The productions construct a world that entertains mysticism and the often-harsh reality of nature. Thomson explains, "We strive to create a world of glitter, magic, and nature fuelled by a slightly sinister undertone," creating a captivating and immersive experience.

The significance of Scotland's artistic landscape in fostering emerging artists and promoting a collaborative environment is not just in its history, but also in the scenes’ acceptance of variation and experimental performance. She believes that programmes like this allow for continuous development and expansion within art. "I think without programmes like this, the art forms can stay in one place and become stale and boring."

The company delved into puppetry and stylised movement during rehearsals. Thomson enthusiastically mentions that "seeing the joy light up in people's faces” is a highlight of playing with form and style. The commitment to innovation ensures that each performance brings a unique blend of enthusiasm, built out of directorial passion, with the innate freedom of creativity and the talent of the performers.

A directorial challenge, she points out, is "accepting the vision that you have in your head is not going to be the end product." However, the most rewarding aspect lies in witnessing the performers' growth and in the realisations that arise from collaborative efforts. Thomson treasures these "penny drop" moments, in which progress turns to success. One of her aims as director was to ensure that the results were remarkable. The best way to encourage young professionals, Thomson says, is to show them what they can do by orchestrating a high-quality and spectacular performance.

The Young Company and their current adaptations epitomise the power of opera, and performance in general, to provoke thought and experiment with cultural motifs and theatrical techniques. Through their thematic approach to storytelling, the company invites audiences to step into a world where glitter coexists with themes of mob mentality. Thomson's artistic vision and the dedicated young professionals remind us of the transformative potential of collaborative exploration.

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Maud and Down in the Valley; Scottish Opera Production Studios, Glasgow, 27 & 28 Jul; Barrfields Theatre, Largs, 29 Jul; Albert Halls, Stirling, 30 Jul, £10-15

scottishopera.org.uk/shows/maud-down-in-the-valley