The opening work of the Aldeburgh Festival’s 76th edition fell to Colin Matthews’ A Visit to Friends, the composer’s first foray into opera.

Colin Matthews: A Visit to Friends - Lotte Betts-Dean, Marcus Farnsworth - Aldeburgh Festival (Photo: Richard Hubert Smith)

Colin Matthews: A Visit to Friends; Lotte Betts-Dean, Susanna Hurrell, Marcus Farnsworth, Edward Hawkins, Gary Matthewman, director Rachael Hewer, Aurora Orchestra, conductor Jessica Cottis; Snape Maltings Concert Hall, Aldeburgh Festival
Reviewed by Tony Cooper, 14 June 2025

An ‘opera-within-an-opera’, Colin Matthews’ A Visit to Friends draws on Anton Chekhov’s intriguing short story of the same name published in 1898 and William Boyd’s Chekhovian play, Longing 

Over the past few years, the Aldeburgh Festival has ‘opened’ with a chamber opera and one that holds its memory for me is The Hunting Gun by Austrian composer, Thomas Larcher, seen in 2019 [see Tony's review]. His first foray into opera. Based on the novella of the same name by Japanese writer, Yasushi Inoue, the opera explores themes of love, betrayal and death telling the story of a secret love affair through the letters of three people. 

Opening Aldeburgh’s 76th edition, Colin Matthews’ new chamber opera, A Visit to Friends, Matthews’ first foray into opera, too, while the librettist novelist/playwright, William Boyd, follows suit delivering a striking and appealing libretto drawing on his Chekhovian play Longing but, more importantly, Chekhov’s short story, A Visit to Friends, written in 1898, almost as a study for The Cherry Orchard (Chekhov’s last play of 1903) which he was hesitant in publishing because its central character, he felt, was too autobiographical. [Read more in Robert's interview with Colin and William, 'A terrific sense of collaboration']

Colin Matthews: A Visit to Friends - Susanna Hurrell, Gary Matthewman - Aldeburgh Festival (Photo: Richard Hubert Smith)

Comprising four scenes from a lost ‘opera’ which has been rediscovered in a Moscow archive with no composer’s name attached, the rehearsals of A Visit to Friends involve three people - a couple of dreamy, determined and hopeful young women ‘head-over-heels’ in love with the same ‘dithering’ man who cannot commit himself. A Moscow lawyer, to boot, the girls dream and live in hope that he’ll help them resolve their financial troubles.  

I remind myself of Proust: ‘If a little dreaming is dangerous, the cure for it is not to dream less, but to dream more, to dream all the time. It comes so soon, the moment when there’s nothing left to wait for.’ Sadly, the girls were left to dream and wait. 

Quite often characterized by a blend of melancholy, quietness and moody observation peppered with moments of humour, longing and so forth, Chekhov’s plays deeply explore themes of boredom and loneliness, the passing of time and the lack of effective communication among his characters. 

Therefore, I think it’s fair to say that Colin Matthews (who has enjoyed a long-standing relationship with Aldeburgh since the early years of the festival particularly with his work with both Benjamin Britten and Imogen Holst) and William Boyd (a writer greatly admired and author of 17 novels, including A Good Man in Africa) truly sum up this ethos in A Visit to Friends capturing so well the Chekhovian shifting moods of the main characters and uncertainty of their desires, frustrations and hopes (usually dashed!) bubbling over throughout the rehearsal period and well beyond.  

A well-cast show, the three singers - Lotte Betts-Dean and Susanna Hurrell (Varia/Vanessa and Nadia/Natalie) and Marcus Farnsworth as Misha/Marcus - deliver bright and intelligent readings of their respective roles offering a distinct clarity in their vocal delivery while their acting ability and stage presence matched so well their vocal prowess. 

Comprising ten scenes and sung in English with English surtitles, A Visit to Friends (the production kindly supported by the Basil Coleman Memorial Fund and the Boltini Trust) opens with a prologue witnessing a Chekhovian-clad character walking a dog on a lead across a bare stage inspecting the rehearsal space. 

Literally, we had a ‘fluffy’ obedient dog on stage. His stage name: ‘Shosty.’ Another ‘first’ for Aldeburgh. Woof! It seems that Chekhov had a fondness for dogs which were often reflected in his short stories particularly in The Lady with the Dog featuring a young girl walking a Pomeranian. Chekhov’s personal life is well documented it seems by his multi-dog ownership.  

Therefore, curious of the dog’s name ‘Shosty’ (Got it?), I discovered that Shostakovich loved dogs, too. His beloved terrier ‘Tomka’ was a constant companion and dogs, in fact, became a source of comfort during his life which was marked by periods of intense anxiety and political pressure.  

The rehearsals are of four scenes from the ‘opera’ which stand apart from but are gradually intertwined with the real-life interaction between the singers. They begin to mirror their ‘character’ relationships and with increasingly tense entanglement between the protagonists it results in the production being abandoned. 

In the director’s chair, Edward Hawkins made his mark on the role of Gregor in no mean way showing his authority and, indeed, the calming effect he bestows upon his charges in times of stress and uncertainty. 

The opening scene - witnessing Vanessa having a ‘run through’ of an aria with rehearsal pianist, Chris (Gary Matthewman) that she’ll sing later in the ‘opera’ - offers a glimpse to the overall plot. Gregor works on it with her. They take a break: Natalie enters. She’s younger than the other two and in awe of them. When Marcus joins her, they discuss the opera. Gregor and Vanessa return and it’s painfully obvious that there’s history between Marcus and Vanessa. When Natalie and Vanessa begin rehearsing, Natalie’s nervousness drives her into silly mistakes.  

Safely in the hands of Rachael Hewer, a director harbouring so much flair and imagination, conjures up a rewarding and forthright production that made good use of Snape Maltings’ vast stage while the whole show is played out against Leanne Vandenbussche’s remarkable, purpose-built set, tightly fitting a revolving stage (another ‘first’ for Aldeburgh!) featuring a contemporary rehearsal space and on its revolve a once-glorious dacha with a broken-woodwork veranda and in a rundown state - the cherry orchard revisited! 

The creative team certainly excel themselves particularly with Danny Vavrečka’s ever-changing lighting scenario and Sasha Owen’s striking video sequences, adding so much to the overall stage picture while Christina Fulcher’s choreography offers the girls a chance to show off when needed. 

Influenced by the writing of Alexander Scriabin, Matthews’ score was paramount and so enjoyable especially the brief orchestral interlude concluding the opening scene glowingly performed by the Aurora Orchestra under Australian-British conductor, Jessica Cottis, who’s here, there and everywhere, it seems. Currently, one of her international posts is artistic director and chief conductor of the Canberra Symphony Orchestra. 

Colin Matthews: A Visit to Friends - Lotte Betts-Dean, Marcus Farnsworth - Aldeburgh Festival (Photo: Richard Hubert Smith)

I attended the second performance on Saturday 14th June which was extremely well received with thunderous applause coming from the Aldeburgh ‘aficionado gang’ who gave a special ‘nod’ to ‘Shosty’ (Good boy!) with beaming smiles all round from an admiring cast. The American actor/comedian/writer, WC Fields, jumped in my mind!  

Reviewed by Tony Cooper

Composer: Colin Matthews
Librettist: William Boyd 
Director: Rachael Hewer 
Assistant director: Jaz Manville
Set designer: Leanne Vandenbussche 
Conductor: Jessica Cottis
Assistant conductor: William Cole
Repetiteur: Berrak Dyer
The Aurora Orchestra
Production manager: Corey Bennett
Varia/Vanessa: Lotte Betts-Dean (mezzo-soprano)
Nadia/Natalie: Susanna Hurrell (soprano)
Marcus/Misha: Marcus Farnsworth (baritone)
Gregor: Edward Hawkins (bass)
Chris: Gary Matthewman (rehearsal pianist)  

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