Review: Royal Muscat Opera House’s debut production celebrates Oman’s rich culture and traditions

The Royal Muscat Opera House has taken a step further in cementing its place as one the region’s premiere cultural institutions.

The show explores Oman’s history. Royal Opera House Muscat
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Any opera house worth its salt is known not only for the high calibre performances it hosts, but also for the pedigree of its in-house productions.

In that regard, The Royal Muscat Opera House has taken a step further in cementing its place as one the region’s premiere cultural institutions.

The venue launched its debut production over the weekend with a dynamic outdoor show, paying tribute to Oman’s heritage and growth.

Celebrating Oman: the Great Journey, which concludes its three-night run on January 7, sheds light on key aspects of Omani history and the nation's renaissance under the leadership of its ruler, Sultan Qaboos bin Said.

Renowned for its spectacular interiors featuring bespoke crystal chandeliers and intricate gold leaf hand-carved wooden decorations, the opera house made for an equally stunning exterior backdrop, with the show held in its expansive marble courtyard.

Created by Italian producer Paolo Dallas Sega, Celebrating Oman made use of the space, thanks to a sprawling and eclectic cast of more than 100 performers and a large local contingent featuring 30 Omani musicians, 40 Omani children, three camels from the Royal Camel Corps, traditional Omani folk companies and members from The Society for Amateur Oud Players.

It was this intriguing blend of cutting-edge professionalism and developing talent that gave Celebrating Oman its heart.

This wasn’t a whizz bang show flown in simply to entertain the masses, but also an encouraging showcase of Omani talent.

Split into 9 scenes, the 90 minute production explored key characteristics of Omani culture.

The stage set up was sparse; the only permanent fixtures being a large screen shaped in the form of an open book and a small majlis in which the show’s two hosts, Omani actors Isaam Al Zadjali and Rasha Al Balushi, introduced each section.

The exterior facade of the white-marble opera house also made for an excellent backdropto project evocative imagery ranging from desert settings and oceans to mountainous vistas.

Each scene was introduced through reams of spoken word, courtesy of local poet treasure Saleh Al Fahdi, screened on the book introducing the action ahead.

Act 1, Frankincense Fire, was a feast for the scenes.

Exploring how the frankincense tree – with its fragrant gum – became one of Oman’s first great exports in ancient times, seven fire dancers snaked and twirled their way across the courtyard as a giant incense burner floated across over head.

The scene concluded with the dancers lighting up over a half- dozen burners placed across the yard, with the audience savouring the sweet yet mildly spicy scents wafting across the venue.

The following scene, Sea Travels, looked at historically renowned navigational skills of Omani sailors, courtesy of a flying dhow with suspended dancers.

The action then returned to the ground with a vibrant celebration of local sailor culture with the folk troupe performing the call and response-style sea songs underscored by a jaunty bag pipe (the instrument known in Oman and in the region as Habban).

The show gradually moved to the present. Act 6: Oman's Renaissance, looked at the country's most momentous occasion – Sultan Qaboos acceding to the throne on July 23, 1970.

Speakers rung out snippets of his historical address from that day before a thrilling aerial flag show – where flags were thrown around like javelins – accompanied by military percussion.

The show wrapped up with the fitting final act, which looked at the Royal Muscat Opera and its mission in building bridges with the world.

After a quirky section where the courtyard transformed into a regal ballroom, which had performers dancing on stilts, the whole eclectic cast came together for a finale, blending music and dance from the East and West.

The pièce de résistance arrived with Italian tenor Giancarlo Monslave standing at the roof of the opera house, belting out a heroic version of Nessun Dorma.

Watching the satisfied crowd walk out of the opera house was Umberto Fanni, the venue’s director general. “I am very happy because I can see and feel that the show has touched the people, and this is really what it is all about,” he said.

“This production has a lot of meaning. This one shows the vision of this country, to build bridges with the world and develop a relationship with all kinds of people. This is also one of the great values of Oman and also all the GCC countries.”

sasaeed@thenational.ae