The Great Wave - Scottish Opera ★★★★

The ethereal qualities of painting are wonderfully rendered in KAJIMOTO and Scottish Opera’s snapshot of the life of Japan’s famous painter, Katsushika Hokusai. The story of Hokusai is complicated and oftentimes challenging, but with a graceful hand, librettist Harry Ross guides the audience through the storm of Shogun-era Japan, eventually reaching a satisfyingly gentle climax to the tale of the enigmatic artist.

The Great Wave takes its name from Katsushika Hokusai’s famous painting, The Great Wave off Kanagawa, which features three boats trying to brave a storm at sea. One of the iconic aspects of the painting is its luxurious blue colour, derived from a pigment known as “Prussian Blue”, a paint that was rare and available only to European painters. In an effort to improve his craft and raise funds for his family, Hokusai illegally trades with Dutch merchants in order to acquire it.

The opera carries the audience through moments of Hokusai’s late period, where, as a late bloomer and an eccentric, he becomes widely known as a master. Here, baritone Daisuke Ohyama carries the vocal performance as a multi-faceted figure. Moments where he uses his lower register evoke a roaring sea as he paints large figures using massive brushes, while his tenor is used in comedic moments, where he decries his agent for not providing him enough funds. Ohyama’s performance anchors the piece; his stage presence is mesmerising.

The Great Wave excels in its ability to convey the craft of painting, bolstered by its exceptional technical elements. Director Satoshi Miyagi uses flashes of light and huge drums that rotate and show the painting, as well as white sheets, to evoke a great storm. Composer Dai Fujikura’s percussion recalls the rumbling of thunder, while strings crescendo with each wave.

Particular attention should be paid to the choreography. Akiko Kitamura layers his ensemble cast, utilising their differing ages and heights as a means of showing a Japan teeming with life. A scene at a country home is innovative with seemingly endless lines of Hokusai fans, who want him to draw sketches in their notebooks.

While Ohyama’s performance is a highlight, there are inconsistencies in the other characters. Some of the vocal performances are a little strained, especially that of the side players in Hokusai’s life. Falsetto Ōi (Julieth Lozano Rolong) has moments of beauty in reaching her top notes, but as Ohyama’s daughter, her projection could be improved to match the might of her father’s presence. Furthermore, not enough time is spent initially on their relationship. This is challenging, especially when their relationship is tested near the end.

Nevertheless, Harry Ross’s choice to focus on the slice of life of a great painter allows for an insight into a great mind and the chance to explore how spiritually enlightening the pursuit of art is. Like the calm in the middle of the storm, The Great Wave allows the audience to feel the paintings in tandem with the music, creating a fusion of the visual with the musical.