EDINBURGH 2023: Review: THE OPERA DIVA'S BOUDOIR, TheSpace @ Niddry St – Studio

This operatic frolic was introduced immediately as ‘silly’ by performer Tamara Stein, before she stepped into the limelight as Baroness Tamara von Stein zu Leitershofen. It was a perfectly personable introduction, reassuring those new to the genre – including the smattering of young attendees – that they weren’t in for a challenging or intense brunch-time performance.

Silly it was: the baroness’s characterisation was overblown and full of charisma, and her tale was a melee of exaggerated emotional outbursts. The audience was pulled along as she rejected courtly life for independence, found a job and plunged into an ill-fated relationship, each plot turn expressed by a solo (adapted) from opera, operetta or stand-alone composition.

Stein’s voice is good, and the songs were a well-chosen, non-challenging introduction to the genre, ranging as they did from Bernstein’s comic "Rabbit at Top Speed" through Mozart’s "Alleluia" to Sibelius’s likely less-familiar "Svarta Rosor". Most intelligently, Stein led up to each piece by including a clear – and not out-of-place – translation of the lyrics in the baroness’ own words, meaning the content would be accessible for all.

However, the character’s slightly shambolic approach permeated the production rather too convincingly. Quick costume changes (over a body suit) were done on stage, and props were pulled unceremoniously from an out-of-place bag-for-life as required. This rough-and-ready practical approach may have been quite fun, but would have worked better if it were a counterpoint to a polished performance – or, conversely, polished production values could have allowed the character’s chaos centre stage. 

The plot yoking the songs together was also disappointingly weak, and included a couple of inexplicably nonsensical segues. Stein’s performance as an actor, in addition, fell short in comparison her ability as a singer. Both of these elements are necessary only as devices around the music, of course, but it’s these that should capture the interest of attendees not keen for a simple recital. 

This particular production was an adaptation for the Fringe of a longer work, which may account for weaknesses in the narrative. Although the show wasn’t quite a satisfying whole, it was genuinely fun to be swept along for an hour as a light reminder of how operatic music can be appreciated.

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