Tag Archives: The Coliseum

HMS Pinafore, ENO

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HMS Pinafore, ENO

As the orchestra kicked off the overture to Gilbert and Sullivan’s cheerful operetta, I racked my brains to where and when I had heard this music last, I felt like I knew every melody already. It occurred to me later that I must have performed in a production of HMS during my childhood singing days, though even those who aren’t acquainted with the music will quickly feel familiar – it is an upbeat and repetitive score that you cannot help but tap your foot along to.

The dictionary defines an operetta as ‘a short opera, usually on a light or humorous theme and typically having spoken dialogue’. In contrast to the heavier, classic tragic operas these compositions will usually attract a more varied audience, despite the old-fashioned nature of the humour. For this ENO revival, directed by Cal McCrystal, there is an extra element of fun with the addition of well-known TV presenter and comedian, Mel Giedroyc, who adds modern quips and slapstick silliness to the show.

We join Captain Corcoran and his daughter Josephine as they journey the seas on board the HMS Pinafore, navigating the ultimate conundrum of duty vs love. I felt particularly safe with the vocal abilities of Eleanor Sanderson-Nash as Josephine and Marcus Farnsworth as the Boatswain, but was less enamoured with Rhonda Browne’s boisterous Buttercup and Bethan Langford’s rendition of Hebe, which was just not loud enough. The comedic timing and movement throughout was brilliant and full of energy, and choreographer Lizzi Gee should feel very proud of the cast – it is not always the case that an operatic ensemble can dance a complicated routine in time and with confidence! Frivolous colour and nautical jolliness is added by takis’ costumes and set design.

As is always the case, the orchestra play with masterful precision, led by conductor Matthew Kofi Waldren in the pit. It was a joy to witness this production of HMS Pinafore alongside my grandmother, who like me, trained to be a singer. And at a time when theatre (and opera in particular) feels so precarious it was heart-warming to see the London Coliseum full to the rafters with audience members young and old.

Continues at The Coliseum until 7th February, book here.

(I received press tickets to this production)

Rigoletto, ENO

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It is rare that I go and see a Verdi opera without remembering the storyline. After studying the great Italian composer and his operas at university you would think the narrative of Rigoletto would stick in my head, but when I went to see the ENO production a few nights ago it was only the melodies which came to mind. Luckily I had my musical grandmother by my side to explain the plot when I got lost.

In brief the opera tells the tale of a cripple (Rigoletto) and his fair daughter (Gilda), who he locks away for protection. When Rigoletto’s boss (the Duke, a gross womaniser) spies the beautiful girl he sets about to find her. Discovering his daughter has been disgraced, Rigoletto is determined to get revenge on his boss once and for all, but unfortunately the murderer he hires kills the wrong person.

Rigoletto

Jonathan Miller’s iconic production returns to the Coliseum for its 13th revival since the original run in September 1982. Over the last four decades this Miller vision of Rigoletto has become one of the most popular ENO show, never failing to thrill audiences. I am often not a fan of modern realisations of classic operas, but this production of Rigoletto manages to portray the story in a contemporary setting without losing the magic of Verdi’s score.

Nicholas Pallensen plays the title role for the first time and sings with gusto and emotional power. His voice is strong and his acting was hugely convincing. Sydney Mancasola makes her ENO debut as his daughter. Mancasola has a shrill voice which comes into its own during the Act III quartet. The Duke, played by Joshua Guerrero, is suitably charming, and his voice is beautifully velvety which I thought worked well for this lyrical Verdi role.

For opera lovers this production of Rigoletto is a must see, continuing at the ENO until 28 February, book tickets here.

London’s Best Shows

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As a singer, attending musical events and gigs in London is always top of my wish list but is often forgotten in favour of restaurant reviews. In the past few months I have prioritised performances and I’ve witnessed some phenomenal music and theatre.

Paul Simon and Sting – Paul Simon is one of my all-time favourite singers. His albums were the soundtrack to my childhood, and even now his songs remain top of my ‘most played’ list. When a rare opportunity arose to see him live at the O2, I jumped at it. He took to the stage with Sting and they shared an epic three hour set. It was a well-balanced evening of melancholy melodies and upbeat hits. The Sound of Silence was particularly memorable sung poignantly with only guitar at the front of the stage, and it was impossible not to dance when he performed the African-influenced songs from his album Graceland, complete with full band and gospel choir. Despite being seated in the cheapest seats at the top of the auditorium, I enjoyed every second of this momentous concert, Sting was surprisingly good too! If you ever get the chance to see this legendary man in concert I would recommend doing whatever you can to get hold of a ticket.

Alice in Wonderland – The Old Vic tunnels are a versatile space used for a range of theatrical projects and exhibitions. To celebrate the 150 year anniversary of Lewis Carroll’s Alice in Wonderland, Les Enfants Terribles have created an imaginative production cleverly transforming this mysterious space into an immersive land of curiosities. As the trains rumble above, you will forget the real world as you follow the whisper of books down the rabbit-hole to meet the Mad Hatter and all his friends. Due to vast popularity, the show has been extended so you can now book tickets until the end of August 2015. Book here.

Sweeney Todd – I almost found out too late about this Sondheim production at The Coliseum, which was only on for a few weeks in April. I am often sceptical about semi-staged shows but with a stellar cast including Bryn Terfel and Emma Thompson, I quickly felt involved in the production. The tickets (though pricey) sold instantly, so I queued up very early one morning to get myself a seat. Sitting on the front row, the singing was thrillingly chilling and the acting brilliantly intense. I hate horror films, but would never turn down the chance to see the demon barber of Fleet Street.