Customer Reviews

Death on the High C's

5 star:		(3)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Sure the action gets a bit silly. But what fun.

No need to be an opera fan. Only an appreciation of the difficulties likely to crop up among high-strung, theatrical characters is required. Sit back, enjoy the story and have a good time. Expect a few giggles. Excellent vacation reading.

Robert Barnard once again mixes an intriguing mystery with gently satirical portrait of a budding Manchester opera company with its "prime donne", dictatorial director, even a ex-military stage-door keeper! Highly recommended for those who love (or hate) opera. Even the detective is knowledgeable on the subject. And Barnard works his plot in nicely with production of "Rigoletto" that the company is rehearsing.

Robert Barnard is amazing in the way he takes social commentary, disguises it as page-turning fiction, then adds a murder mystery to give it a little extra zing. He's done it in every one of his books that I've read.
Death on the High C's is a sly look at the workings of a provincial opera company preparing to stage Rigoletto while a murder investigation takes place in their midst, but you don't have to be an opera buff to enjoy the shenanigans.
Familiarity with the subject of any story will, of course, enhance your enjoyment of it, but Death on the High C's works, as is usual with Barnard, as flavorful social commentary spiced with murder mystery.

Barnard is extremely knowledgeable about opera as he proves in describing a British regional company rehearsing "Rigoletto." The cast of characters he has assembled are fascinating especially Gaylene Ffrench (with two f's) a brassy, bigger than life Australian contralto who loves to toot her own horn, sleep around, and stir up trouble. Barnard's comic and ironic impulses lead him in the direction of caricature, but that adds to the reader's enjoyment.
Two murders keep the reader guessing. As is the case with some of his other books the solution is unsatisfactory, out of left field, because the culprit's motivation seems inspired not by something that evolves out of the plot strands, but by some far-fetched scheme. The fun and pleasure, however, come from the way Barnard tells his story and the interest he builds up in his characters and their foibles. Nothing is as simple as it seems in their lives. Plenty of red herrings are loose in this effort.
Barnard has his good people and his nasty people, and his squalid ones are the most fun. Police Superintendent Nichols, an opera buff, has to sort through the opera suspects. For much of the time he is led astray, but a member of the opera company finally sets him on the right path. While he is at loose ends, we as readers have the most fun.
Barnard is a very clever writer who often uses people in the arts (opera, painting, literature) as the source material for his clever plots. He loves to pit professionals and amateurs in the arts against each other.
A fun reading experience!

In this spoof of opera temperments, Barnard looks at the death of an obnoxious Aussie diva. _Death on the High C's_ may be more interesting to real opera buffs, but to me any mystery was watered down by the overdrawn characters and the rather obvious red herrings the author employs.