Tag Archives: The Coliseum

Julietta, ENO

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Modern opera often deters me but Julietta makes for a surprisingly enjoyable evening. Designer Antony McDonald has created an enchanting set with a glorious moving accordion which the performers use as a climbing frame for the action.

The story is based on Surrealist play ‘Juliette’ by Georges Neveux. It is a strange but oddly effective narrative… Michel, a Parisian bookseller discovers a small coastal town and slowly becomes aware that the inhabitants have no memory. The world of the present envelops him and he gradually loses his sanity as he realises his own reality is empty and dull. It is his powerful love for Julietta that persuades him to stay in this bizarre dreamland.

The show took a while to warm up… initially the madness feels incongruous with the confident orchestra and beautiful set, the acting just isn’t convincing enough. But as the evening progressed, I felt more absorbed by the crazy surrealist world. Act 2 is particularly captivating as the young couple meet in a nearby forest. While the love scene commences, musicians wander in the background playing instruments nonchalantly. The cast are tight and together… often I get the feeling casts do not enjoy performing more contemporary operatic work, but Julietta seems to spark the ENO chorus. Peter Hoare is exceptional as the lead, Michel Lepic, he sings with clarity of tone and with an affecting passion. I found Julia Sporsen unnerving and scary and her voice soars through the auditorium. Andrew Shore and Henry Waddington impress in the lesser roles.

The orchestra headed up by Edward Gardner seems very comfortable with the quirky modern Martinu score. Despite the obvious dissonances, the music does not lack melody and at times is startlingly beautiful, the ENO orchestra does a commendable job demonstrating its strengths.

Another example of the ENO company producing work that is innovative and creative without losing universal appeal.

Continues until 3 October, book here.

Billy Budd, ENO

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With a history of performing and studying opera myself, I always find an ENO opening is an evening of spotting familiar friendly faces both on and off stage. Billy Budd was no exception with university friends and ex-music teachers sitting nearby in the audience and singing acquaintances in the cast.

The creative team from the award-winning production of Peter Grimes return to bring this new version of Benjamin Britten’s masterpiece, Billy Budd, to the Coliseum stage. It is a dark and moody show, which I felt lacked a clear vision and yet thanks to an exemplary cast of vocalists and musicians leaves a lasting impression.

Billy Budd is the second sea tale I have seen this season at the ENO after the spectacular rendition of The Flying Dutchman. This tragic opera is unique for its all male cast; the blokey chorus make quite an impact and there is something very refreshing about a narrative that is not based around a tumultuous girl-boy love affair. Billy Budd is a fiercely proud and strong sailor; aside from his occasional stammer, he is a strong member of the naval service and soon becomes a favourite of Captain Vere’s. But his inability to express himself coherently leads him to lash out and he receives the ultimate punishment for his violence.

I was most impressed by the standard of acting which is convincing across the board. In particular the contributions of Benedict Nelson as Budd and Gwynne Howell as the faithful Dansker make the production engaging and moving. Nelson makes a handsome and thoughtful Budd, though I felt he could have been more powerful vocally. Matthew Rose is a chilling Claggart, a British bass with a smooth and rich tone. The smaller roles are played by some stunning younger singers, Nicky Spence as Novice and Marcus Farnsworth as Novice’s Friend.

I found the staging a little unimaginative and I failed to understand the point of the stark set. The movement too is disappointing and I wondered what exactly the choreographer had worked on… aside from a bit of swaying the men seem to take part in very little activity.

One thing is for sure, Edward Gardner never fails to deliver and the orchestra truly do justice to this great modern British score, bringing energy and passion to the music.

Zooming down the Coliseum stairs, the ominous Britten melodies still circling in my head, a crew of cameramen caught me off guard for an interview and soundbite. Exhausted and in a daze, I hope I spoke coherently, I guess we’ll soon find out if and when the footage goes live!

Billy Budd is a Britten classic and this production shows off some of Britain’s best vocal talent.

Continues until 8 July, book here.

The Flying Dutchman, ENO

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The Flying Dutchman is one of Wagner’s earliest operas and is unusually short by Romantic opera standards, however within the score it is easy to identify themes and musical motifs that appear throughout his later work. Following the unanimous success of Parsifal last year, an ENO dream team introduce another Wagner masterpiece and when I bumped into several opera keen friends at opening night, I realised just how highly anticipated this production was.

It is a mysterious tale of a ghostly sea captain, riding the seas anxious to find a suitable woman who will be faithful till death. He meets with a lost seafarer and soon discovers that in return for his fortune he can gain a wife. The young Senta roams the stage throughout the first act, missing her father who only returns from sea every seven years. Senta is possessed mind and soul by the storybook telling the tale of the Dutchman and his need for a wife. When her father returns home years later with the Dutchman, Senta is at last relieved of her anguish. They are reunited much to the disgust of the town. Unable to cope with Senta’s unrealistic dreams Erik tries to convince Senta that her destiny lies with him, spying the couple the Dutchman leaves. Tormented by the loss of her love, Senta kills herself unable to imagine life without him.

The cast is all round impressive, in particular the desperate lover Erik sung by Stuart Skelton and Clive Bayley as Senta’s father who has a strong charismatic bass voice that is very enjoyable to listen to. James Cresswell is moody and brooding as the Dutchman but vocally he lacks substance and could have been more emphatic. Orla Boylan has an appropriately big voice for the female lead, Senta.

It was a great pleasure to see Edward Gardner in the pit once again, conducting his first Wagner opera. Obviously enjoying the power and energy of the score, he led with great enthusiasm and the orchestra responded well providing a strong backbone for the singers. The epic sets suit the dramatic Wagnerian story perfectly, a masterpiece from Paul Brown, and Nina Dunn’s video designs are extremely atmospheric and cleverly made.

The ENO’s ‘Flying Dutchman’ passes with flying colours, a real triumph to start the new season.

Continues until 23 May, book here.