The story of Homer’s Odyssey needs no introduction, especially in opera. Influential on countless art forms, this epic story traditionally centres the male hero in its many retellings. A beautifully executed performance by Alta Collective and the Young Voices of Melbourne of American composer Sarah Kirkland Snider’s 2008 song cycle Penelope instead offers a refreshing contemporary female perspective on this ancient tale.

Alta Collective’s Penelope. Photo © Simon Fazio

Adapted from an orchestral song cycle into a version for the massed treble voices of Alta Collective, the Young Voices of Melbourne and small chamber ensemble by musical director Juliana Kay, this engrossing hour-long performance touched every emotional aspect of the forlorn Penelope.

In this nuanced adaptation, the wife of Odysseus, who has been patiently awaiting the hero’s return, is suddenly confronted with the man she has assumed dead for the past 10 years. She adapts to his return, processing the deep and traumatic emotions that accompany such a difficult reunion. She listens to the stories of his journey, spoken through a poetic libretto by Ellen McLaughlin that touches on key moments of the myth through a fresh contemporary voice.

Snider’s roughly 60-minute work is a beautiful union of contemporary neo-classical choral writing, rich harmonic clashes, open harmonisations and occasional unique colour choices, paired with a folky uplift that creates a well-blended musical experience.

I was concerned that the work would simply be unified vocal forces and strings playing tutti for the entirety of the piece. The score instead moves fluidly through different harmonic and textural rooms, providing enough contrasting colours in the overall musical experience. A special shout-out to the light touch of percussionist Alexander Meagher and the graceful pizzicato of cellist Darcey Gilkerson.

I did, however, leave craving one big climactic point. It felt that a peak was always approaching, yet it never quite reached the height I expected.

Alta Collective’s Penelope. Photo © Simon Fazio

The singers shone in this work. Alta Collective were brilliantly prepared by conductor Juliana Kay and director Renée Heron, and sang with impressive intonation and a glorious sound throughout. From clear, bell-like and perfectly in-tune tutti sections to well-executed and mournful solo passages, the ensemble excelled.

A special mention is due for the spoken passages, a technique that can often seem under-rehearsed compared with singing, yet was confidently delivered here. The Young Voices of Melbourne, an ensemble that in my experience is always well prepared, musical and full of joy, were a delight to hear woven throughout this evening-length work.

Young Voices of Melbourne in Alta Collective’s Penelope. Photo © Simon Fazio

Choreography devised by Marjorie Butcher was simple but very effective, alongside a subtle yet enlightening lighting design by Sian Halloran. The event was slightly impacted by the sound quality. The voices easily filled the barn-like acoustic of the Laundries at the Abbotsford Convent, which meant the small orchestra of strings and percussion, positioned to one side, felt slightly held back in the space. The electronic elements were also too soft and tended to be swamped by the acoustic forces.

Alta Collective and Young Voices of Melbourne perform Penelope at Wesley of Warragul, Warragul, on 8 November.