Category: Classical

REVIEW: La Traviata

Published on by Iona GoodallLeave a comment

Rating: 4 out of 5.

The perfect introduction to opera. If you want a feast for eyes, ears, and mind, make a trip to La Traviata a priority.

If this is a safe space, can I confess something?

This was my first opera – ever. Unless you count a one-act Hansel and Gretel production for kids my mum took me to when I was about 8, and which didn’t make much impression. Other than that, my knowledge of La Traviata was only through my deep and passionate love for Baz Luhrmann’s 2001 Moulin Rouge! which is based upon it.

However, upon gathering my courage and entering the intimidatingly grand Theatre Royal while this opera plays, you will be enthralled by the grandeur and sophistication of a beautiful and timeless love story.

La Traviata (The Fallen Woman) is Verdi’s 1853 opera about Violetta, a beautiful courtesan, and Alfredo, her devoted admirer, who despite falling madly in love are pulled apart by family, circumstance and general tragedy, reuniting finally as Violetta succumbs to the consumption which shortens her tumultuous life.

I promise you will not hear a more beautiful soprano this year than Hye-Youn Lee, an enthralling Violetta who manages to capture the transformation from a glamorous, cynical courtesan to besotted, desolate pauper. The production (originally by Sir David McVicar in 2008, revival directed by Leo Castaldi) doesn’t shy away from the horror of a death from disease, and Hye-Youn’s ability to sing those high notes while sprawled in pain on a bed truly blows my mind.

The other true star of the cast was Ji-Min Park, playing an adorable love-blind Alfredo. His voice holds enough power to match Hye-Youn Lee’s, and carries off the despairing rage-fueled ending of Act II with great grace. This is Ji-Min’s first performance with the Scottish Opera, and after seeing the humility and emotion in his face after the performance, I wish him many more.

The sets and costumes are lush and it’s a treat to see so many performers on stage in an age where many other branches of theatre cut performer numbers to a bare minimum. The power of their voices, particularly in the Act II finale, is absolutely glorious. The orchestra, led by Stuart Stratford, carries Verdi’s passionate music wonderfully.

The performance also features dancing choreographed by Andrew George. In Act I there is a slightly awkward solo moment that to me felt disjointed to the rest of the performance, and led me to doubt – but the Act II “Di Madride noi siame mattadori” it brought much needed flair and excitement to an otherwise very contained story – and even a cheeky little cross-dressing joke (because what is theatre without at least a little cross-dressing?). 

The production is sparklingly polished and engaging, even to a complete opera novice such as myself. If you want a feast for eyes, ears, and mind, make a trip to La Traviata a priority.

REVIEW: The Rake’s Progress

Published on by ljbint1 Comment

Rating: 3 out of 5.

Plagued with technical issues, the performers held strong and made it enjoyable.

Stravinsky’s The Rake’s Progress is not the typical story of a Rake; the plot was unexpectedly about a man, originally with low funds, in love, who learnt more and more about love throughout the opera. Even with all the problems he faced, and the mental state he was in by, the end of the story, Tom Rakewell (the Rake) knew what love was, could recognise it, and could profess it to the woman he had loved throughout the opera. The performances of all the cast were touching, intense, and powerful.

That being said, the performance was filled with technical issues that made it challenging to enjoy in places. The lighting was inconsistent and problematic at times, there were several periods where lead cast members were performing in darkness because the spotlight was in the wrong place. Some of these moments could have been considered intentional, except that it happened so often, particularly prior to the interval, and others absolutely could not have been because the spotlight was partially on them. Another issue was the sound. While it is entirely understandable that the cast were not wearing microphones, operatic performances could make this difficult in practice, it was really difficult to hear them occasionally. The issue that conflated this was that the subtitles on the screens had their own problems. They were sometimes out of time, and while they occasionally followed both participants of a duet this was inconsistent, they also did not follow more than one person when it was three or more vocalists layered even if their parts had different lyrics.

The costume department and set design team deserve high praise. The staging was tilted, partially raised, and reflective. It was beautiful and provided atmospheric reflections during poignant moments. It was a clean and modern feel that fit well with the mixed 18th Century and modern feel that the costumes and props had. The costumes were wonderful, all the main cast had costumes that were excellently designed to provide symbolism for the audience. The crown that Frederick Jones’s Tom Rakewell wears at the beginning is seen in a few other scenes as well, and it is only its later uses that made its entirely out-of-place feel at the beginning make more sense. The ensemble had very intricate costumes, the masks were gorgeous. For one moment there was a murder of crows on stage, heavily suggesting to the audience that something terrible was going to happen. Other lighter moments included the use of a Greggs paper bag as a prop – a smattering of laughter was heard from the audience.

Jack Sheen, the conductor, was magnificent, as were all the musicians. One musician in particular stood out for the entirety of the opera. The pianist. The pianist spent the entire opera on stage, in full costume, with a straight face as though they were part of the scenery. Only turning the page of their sheet music occasionally and playing sometimes. They played brilliantly and added hugely to the moments they were required for. During the auction scene, the pianist had a SALE sign stuck to them. They were clearly committed to their role to be as unobtrusive as possible, and should be highly commended.

Truly there was no weak link in the performers, the musicians or the cast on stage. The vocals were astounding, with special mention to Nazan Fikret, who played Anne. It was unfortunate that there were so many technical issues on the night that took away from the otherwise enthralling performances of the gifted main cast, and talented ensemble.

REVIEW: Manon Lescaut

Published on by graceboagmatthewsLeave a comment

Rating: 3 out of 5.

A funky vision and a few fun twists on Puccini’s classic.

I think I can comfortably assume that the English Touring Opera’s production of Manson Lescaut at the Oxford Playhouse is vastly different from its first performances in Turin, 1893. Director and librettist Jude Christian’s fascinating biography of recent work had me on tenterhooks for the main event, and her revival of this Puccini classic did not fail to excite the senses and turn the classical world on its head. 

Practically, the vision was completely clear and, at the opening, completely blue. Tiled walls like an empty swimming pool and an unusual display of water coolers outlined the stage as the monochromatic colours of the rainbow were introduced in the costumes of the ensemble. These charmingly contemporary costumes remained unchanged throughout, keeping the modern vibe in check and the audience visually alert. Symbolic set pieces were effective; I particularly enjoyed Geronte’s ’watchful eye’ in act II and the huge gold pug in act IV, once I’d worked out what it was. I felt the choices Christian had made to revamp the opera from a feminist perspective had power and energy, but lacked some execution. I was glad at the interval that I couldn’t yet ‘work it out’, but was somewhat disappointed in the final acts by dwindling clarity and drawn out goodbyes. That being said, the funky and ambitious direction made me, as an infrequent opera viewer, infinitely more likely to come back for more! 

Conductor and music director Gerry Cornelius led the production with skill and assurance, and the orchestra was faultless. I felt this especially in the second half, where the music did the emotional ‘heavy lifting’ with verve and confidence. Voices were exceptional; I was particularly struck by soprano Jenny Stafford, who propelled the story with unwavering vocal energy and a convincing performance as Manon. I enjoyed Edward Hawkins’ Geronte, who commanded the stage fabulously in pink and summed up Christian’s ‘surreal nightmare’ take on the opera very well. The movement direction was imaginative, amusing and well executed by the ensemble when present. In duologues I found myself craving this energy, and felt that the central couple’s relationship at times relied on the lines sung and the music behind them.

All in all, a funny and surprising twist on a beautiful opera, filled with colour and open to interpretation. I was interested but not surprised to find I brought the average age of the audience down by a long way, and hope that this kind of active reimagination will encourage the younger generation to give opera a chance!

FEATURE: Scottish Opera revives Sir David McVicar’s La Traviata this summer

Published on by Tabitha JamesLeave a comment

SIR DAVID MCVICAR’S PRODUCTION OF LA TRAVIATA BY VERDI TOURS TO GLASGOW, INVERNESS, ABERDEEN AND EDINBURGH THIS SUMMER 

Audiences in Glasgow, Inverness, Aberdeen, and Edinburgh have the chance to experience a revival of world-renowned director Sir David McVicar’s (Il trittico 2023) treasured production of Giuseppe Verdi’s La traviata this summer. Opening at Theatre Royal Glasgow on 8 May, this passionate staging began life at Scottish Opera in 2008 and has frequently been seen at the houses of co-producers Teatro Real Madrid, Gran Teatre del Liceu Barcelona, and Welsh National Opera. It brings the Company’s 61st Season to a sumptuous close.

Soprano Hye-Youn Lee performs Violetta – one of her signature roles – in Scotland for the first time.  Hye-Youn has appeared, to great acclaim, in numerous productions with the Company including in 2023’s Carmen as Micaëla and in the title role of Daphne, Donna Anna in Don Giovanni in 2022, Madame Mao in 2019’s Nixon in China, and Mimi in 2017’s La bohème. La traviata is conducted by Scottish Opera Music Director Stuart Stratford.

The first-rate cast is a fine balance of international stars and homegrown talent, with the role of the courtesan’s lover Alfredo sung by Ji-Min Park in his Scottish Opera debut. He is joined by Phillip Rhodes (Carmen 2023) as Giorgio Germont, Nicholas Lester (Nixon in China 2019) as Baron Douphol, and Scottish Opera’s current Associate and Emerging Artists, Lea Shaw, Monwabisi Lindi and Ross Cumming. 

Reviving the original production is Director Leo Castaldi, with Andrew George as Choreographer and Sirena Tocco as Assistant Choreographer. Set during the Belle Époque, the luscious designs of this gripping Verdi tragedy are by Tanya McCallin with Lighting by Jennifer Tipton, revived here by Robert B. Dickson. 

Violetta Valéry lives on borrowed time. In the hedonistic social scene of late 19th century Paris, she squeezes each day for its joys before her illness catches up with her. When the idealistic young Alfredo offers true love, happiness seems possible – but her past has exacted a price. 

La traviata has inspired countless retellings, including cult favourite films Pretty Woman and Moulin Rouge! Verdi’s iconic opera is one of the most popular in the world, and with its host of famous songs including ‘Brindisi’ (‘The Drinking Song’), featuring a full chorus and dancers, and Violetta’s moving aria ‘Sempre libera’ (‘Always free’), it is an ideal introduction to those not familiar with the artform. McVicar’s production gets to the core of this tale of doomed love, finding a heartbreakingly human story in the midst of decadent high society.

Scottish Opera Music Director Stuart Stratford said: ‘La traviata is as direct and shocking for us today as when it was premiered in 1853. Not concerned with gods or royalty, the story is about ordinary people in extraordinary circumstances. Verdi is at the height of his musical and dramatic powers, and has unparalleled control of his forces. He expertly crafts the details and plot of the story, but gives space for unforgettable arias and ensembles which seem frozen in dramatic, and characterise this opera as being surely one of the greatest in the operatic canon.’

Those who wish to discover more about how La traviata was created can attend Pre-show Talks, which delve into the detail of the opera. Tickets are free but should be booked in advance. Audience members with a visual impairment can enjoy the full opera experience at Audio-described performances, which have a live commentary describing the action on stage without compromising the music. There are also free Touch Tours of the set, and a live audio introduction before the start of the performance. 

There are also two Access performances of La traviata, in Glasgow and Edinburgh, kindly supported by Scottish Opera’s Education Angels. With Dementia Friendly values at their core, these shortened performances are open to all. Performed by a full cast and orchestra, they also feature a presenter to introduce the story, characters, and music. There are wheelchair spaces and extra staff on hand to help. There is also a smaller capacity to allow everyone space, and brighter lighting levels in the auditorium, giving you the flexibility and freedom to move about as required.

Tickets for La traviata, which is supported by Scottish Opera’s ‘Play a Supporting Role’ Appeal, can be booked at www.scottishopera.org.uk/shows/la-traviata/ 

REVIEW: James McVinnie & Tristan Perich: Infinity Gradient

Published on by jamesrobertson42Leave a comment

Rating: 4 out of 5.

Looking to the past and the future through the music of the organ

The organ that stands within the Royal Festival Hall at the Southbank Centre is turning 70-years-old this year. The new Resident Artist James McVinnie rang in this illustrious occasion with two performances in a day, both of which offered an old and a new perspective on this important instrument.

Peaking a successful career as an organist and a pianist, McVinnie has held positions at Westminster Abbey, St Paul’s Cathedral and St Albans Cathedral. He has collaborated on long form pieces with numerous musicians and artists, such as Philip Glass, Nico Muhly, Darkstar and Squarepusher.

At 2 in the afternoon, McVinnie took to the stage by himself. What followed was a resplendent assortment of pieces by mainly 16th century composers, such as Bach, Praetorius, Böhm and Buxtehude, amongst others. McVinnie’s execution of these renditions was immaculate, allowing for a grand set of organ music that lasted a tight hour. It really gave a flavour for the history of this organ and what music came before it to allow for its creation.

In the evening, McVinnie took to the stage again, but this time instead of looking to the music of the organ’s past, he ventured into the future. Tristan Perich and James McVinnie joined forces on a piece entitle “Infinity Gradient”, which pairs McVinnie’s organ playing with an electronic composition accompaniment that only utilises one-bit sound. Played through 100 speakers set up on stage, it is as if McVinnie is partaking in a duet with Perich’s work through the speakers.

The piece itself, which spans over an hour in length, is as if a synthesiser was hooked up to a 70-year-old organ. The pairing of the one-bit soundscapes, punctuated by electronic bleeps and looping whirs, with the classical execution of the organ is spectacular and unique. When the music reaches booming crescendoes, it feels as if the entire room is taken up by the sound. 

It could be compared to Hans Zimmer’s work on the soundtrack of “Interstellar” for its futuristic grandeur, but what McVinnie and Perich have created is wholly unique. The presence of the numerous speakers on stage feels as though a digitalised orchestra has replaced an analog one, with the speakers themselves visibly moving and beating to the sound they are projecting.

Executing a body of work that stands unique in its conception, Perich and McVinnie’s “Infinity Gradient” shows where the future of organ music could go.

REVIEW: Opera North: Cavalleria Rusticana/Aleko

Published on by Maria Mădălina IfrimLeave a comment

Rating: 4 out of 5.

A cohesive exploration of the idea of honour in different rule-bound settings

Opera North’s double bill of Cavalleria Rusticana by Pietro Mascagni and Aleko by Sergei Rachmaninoff is a captivating exploration of intertwined desires, dramatic contrasts, and thematic reflections. The juxtaposition of these two operas creates a rich tapestry of emotion and narrative, each enhancing the other’s impact.

Dramatically linked, these two works delve into the depths of human desires and the consequences they entail. Despite their differing settings and stories, there’s a cohesion that binds them, like facets of the same diamond reflecting light from different angles. Mascagni’s Cavalleria Rusticana, set amidst the unease of 1970s communist Poland, contrasts sharply with Rachmaninoff’s Aleko, transplanted to a vibrant 1990s surfing commune. Both pieces of work were stripped of their “original” colors, to focus on the actions and the motions of the plot. Yet, both operas resonate with themes of love, honor, and fate, albeit in contrasting environments. Is it honorable to shed blood for the ones that wrong you in love? Is fate the heaven and hell that we are obliged to carry with us every single day?

The nothingness of Cavalleria Rusticana’s bleak setting clashes starkly with the vibrant, colorful world of Aleko, where everything seems plentiful. Charles Edwards’ sets and Gabrielle Dalton’s costumes effectively highlight these disparities, creating striking contrasts between the two productions.

In exploring mirror images, these operas reveal intriguing structural and emotional parallels. While the stories are reversed, like a negative to a film, they evoke similar feelings and dilemmas. An interesting exercise emerges in considering whether Aleko is the same person as Alfio twenty years on, doomed to repeat his past crimes, showcasing the evolution of the concept of honor and the consequences of seeking retribution.

Bass-baritone Robert Hayward, portraying Alfio and Aleko, embodies stoic characters burdened with their own tales. Their performances add depth to the exploration of honor, love, and the human condition.

Cavalleria Rusticana, crafted by Mascagni and Aleko by Rachmaninoff, both written in youth, explore themes of offended honor and behavior rooted in local communities. Yet, while Cavalleria Rusticana delves into claustrophobic community dynamics and the absence of genuine love, Aleko ventures into realms of sexual and existential freedom, challenging religious and moral norms. There are stringent notes of Othello in the first one, that pair nicely with the parallels to Carmen in the second one, creating a universe of opera meta-textuality well-known by all opera lovers. 

Aleko draws inspiration from Pushkin’s poetry, intertwining myth and stereotype in its portrayal of Roma communities governed by strict rules. Rachmaninoff’s opera presents a sanitized, commercialized version of gypsy culture, with greater barriers to freedom imposed by external limitations. Although the parallelism between pieces works wonders from a visual point of view, I wish a bit more care was put into making the transition between Alfio and Aleko work. I would have also loved to have a more thought-provoking exploration of this mythical “cycle of human life” – abandonment and betrayal in love either accepted as the de-facto way of living or as a big betrayal and how does that affect generations to come. 

Ultimately, Opera North’s double bill is a thought-provoking exploration of human desires, honour, and fate, presented through two contrasting yet thematically linked masterpieces of opera. Masterfully staged, amazingly sung and interestingly scored, it was a feast for the senses!

Photo by James Glossop

REVIEW: Marx in London!, Scottish Opera

Published on by Claire McArthurLeave a comment

Rating: 4 out of 5.

An action-packed and unconventional day in the life of Karl Marx and his family proves to be a feast for the eyes and ears

Marx in London! is set on one day in 1871 – the 14th August. We’re informed of this at regular intervals by the Spy (Jamie MacDougall), a character who opens his first official update by declaring there was nothing remarkable about Karl Marx’s current behaviour. How things were to change!  

The opening act of Jonathan Dove’s production has us swept into a family setting – Karl Marx (Roland Wood), playing a rather suggestive game of chess with Helene (Lucy Schaufer), his housekeeper, when not being disrupted from his ‘work’ by his daughter Tussi, played by Rebecca Bottone. Soon, the troubles of Marx become apparent – the bailiffs arrive, and Tussi is distracted by a young man outside (Freddy – played by William Morgan), who she perceives to be a spy. Chaos ensues, and further exacerbated by the arrival of Jenny Marx (Orla Boylan), resplendent in an impressively expansive purple gown, and friend Friedrich Engels (Alasdair Elliot). We’re whisked through a pawnbroker, a reading room, a speaking contest in a pub, through the London streets on a moving (and occasionally, flying) furniture cart, an angelic penny farthing, and back home, as the story unravels its various threads, complete with fourth-wall-breaking plot twist.    

Ingenious use of set design and decoration is prevalent throughout – with frequent usage of split level stages and manoeuvrability of every element of set furniture. In the first instance, Karl Marx is shown in his writing room, separated from the uproar, whilst the bailiffs attach various furniture items to ropes in the living room, from which the items are suspended in mid air. This device is used to great effect throughout the performance, and the use of multiple eye levels and increasingly frantic movement on stage mimics the inner turmoil shown by the characters. The use of a video backdrop worked perfectly, and appeared deceptively effortless, and the supertitles above the stage were much appreciated too. 

The orchestra were impeccable, lead by David Parry, and the performers were wholly in sync with the music throughout, and vice versa – this is clearly a well honed relationship. 

Singing was pitch-perfect throughout the main cast and ensemble, hitting every note with ease. However, there was a little loss of clarity at some parts, particularly when the male characters were singing from the back of the stage, but this more reflective of the theatre space than the performers themselves. Flirty little lyrics were peppered throughout, clearly appreciated by the audience, and probably the first time the description of a carbuncle has been sung in an opera. “Another little drink” sung as duet between Jenny and Helene, was a personal highlight, with excellent drunk acting from the pair, and even more impressive was Orla Boylan being able to sing whilst prostrate, in a corset, and that magnificent gown. Costuming in general was also ideally suited to the characters, with many cycling through multiple outfits – a total of seven for our enigmatic Spy.   

Taken as a whole over the two acts, there were occasions where the pacing felt a little uneven, and some scenes would have benefited from more judicious editing. Even so, the performance itself did not feel overly long, and would be a very accessible and highly recommended introduction to the opera for a newcomer.     

REVIEW: Scottish Opera Highlights

Published on by ayoungishperspective1Leave a comment

Rating: 5 out of 5.

Scottish Opera’s ‘Highlights Concert’ was a truly magical evening of opera and we’re already looking forward to the company’s next visit to Mid-Argyll.

Mid Argyll Arts Association were delighted to welcome Scottish Opera’s touring company to Ardrishaig last weekend.  The last time Scottish Opera visited Ardrishaig was 1991 and such was the enthusiasm for this ‘Highlights’ Concert that tickets were sold out weeks ago. MAAA were then asking people to put their names on their waiting list!  The audience was varied: a young 11-year old experiencing opera for the first time, along with regular followers of Scottish Opera.  

Appearing were 2023/24 Associate Artist, mezzo-soprano, Lea Shaw, along with three of Scottish Opera’s Emerging Artists, the tenor, Shengzhi Ren, soprano, Inna Husieva and baritone, Ross Cumming. The touring production’s accompaniment was provided by their Music Director, James Longford on piano. 

Most of the programme was sung in the original language, the excellent acting skills of the singers allowing the audience to understand the drama of these operatic tales. Skilful set- design by Ana Inés Jabares-Pita must be mentioned too. 

The scene is a wedding. Four singers portray the characters, staff and guests. The story is then told through a musical programme, devised by Derek Clark with script by Laura Attridge, of operatic delights. The music is drawn from over three centuries of opera, ranging from Mozart’s ‘The Magic Flute’ to Gilbert and Sullivan’s ‘HMS Pinafore’ and then to a contemporary 2023 work composed specially for Scottish Opera’s touring company by Emma Jenkins and Toby Hession. ‘In flagrante’ opened the second half of the evening. Three government ministers find themselves in a ‘morning after the night before’ situation. The spin-doctor arrives . . .  Through a variety of arias, duets, trios and quartets the antics of the wedding guests are revealed!

’The Saga of Jenny’ from Gershwin’s ‘Lady in the Dark’ brought the evening to a close. Long and enthusiastic applause from the audience ensured a further treat from the singers in their encore. This was “Wrong Note Rag” by Bernstein and brought the concert to a perfect end!

‘Brilliant’, ‘fantastic’, ‘What voices!’ were just some of the responses to this wonderful evening.  Perhaps the most telling, ‘When are they coming back?’

Spring 2024 Tour: 11 February – 23 March 

Touring to Greenock, Dunlop, Stirling, Ardrishaig, Blairgowrie, Peterhead, Aboyne, Strathpeffer, Tongue, Stornoway, Poolewe, Dornie, Ballachulish, Tobermory, Johnstone, Middleton, Duns, St Andrews, and Largs.

Guest Reviewer: Fiona Toner

FEATURE: ENO revives Simon McBurney’s The Magic Flute

Published on by Tabitha JamesLeave a comment

Under 21s can get free opera tickets to all ENO performances at every level of the theatre, and 21-35 year olds can get discounted opera tickets. Tickets for everyone begin at £10. 

Wolfgang Amadeus Mozart (1756-1791), Libretto by Emanuel Schikaneder

  • Conductor, Erina Yashima,
  • Director, Simon McBurney 
  • Revival Director, Rachael Hewe

This February, Simon McBurney’s much-loved and enchanting production of The Magic Flute returns to the English National Opera (ENO) for its third revival since its original premiere in the 2013/14 Season. This ‘life-enhancing, gloriously creative’ (The Spectator) production is staged at the London Coliseum in collaboration with pioneering theatre company Complicité. 

This unique rendition of one of Mozart’s most enduring operas combines singers and actors to evoke a magical world of monsters and mystery. Armed with only a magic flute, Prince Tamino is given a fantastical quest to rescue the Queen of The Night’s daughter Pamina from the High Priest Sarastro. A contemporary setting, with live sound effects, drawing, animation, and the ENO Orchestra raised to stage level make this a joyously accessible operatic event.

This contemporary spin on the original 18th century pantomime atmosphere features instrumentalists incorporated into the production and action breaking out into the auditorium. The Magic Flute, one of the most enduringly successful operas of all time, is given an intimately theatrical reimagining with ‘spectacular effects’ (The Stage). 

Director Simon McBurney is one of the most innovative and influential theatre-makers, and he presents The Magic Flute with ‘startling humour and theatrical wizardry’ (The Observer). In 1983, he co-founded the company Complicité and since then all his work has been made through a deeply researched and highly collaborative process which fuses a profound belief that all aspects of theatre should challenge the limits of theatrical form. 

Making her ENO debut conducting the award-winning ENO Orchestra is German-born Erina Yashima. In 2022, Yashima started her tenure as the First Kapellmeister at the Komische Oper Berlin, and she had previously been the Assistant Conductor of the Philadelphia Orchestra. 

American tenor Norman Reinhardt makes his ENO debut as Tamino. This is a role Reinhardt has made his signature, performing it at San Francisco Opera, Teatro Real, the Bregenz Festival, and Houston Grand Opera where his ‘beautiful tenor voice sets the tone from his first note’ (Broadway World). Performing the role of Tamino on 12 March (11.00) is former Harewood Artist William Morgan. 

American soprano Rainelle Krause makes her ENO debut at the London Coliseum in the role of The Queen of the Night. Krause has delighted audiences with her ‘impressive’ (Badische Zeitung) performances in this role and made it her signature, performing it at Danish Royal Opera, Berlin Staatsoper, and Deutsche Oper Berlin. She has also captivated the opera world singing this character’s iconic aria whilst performing an aerial routine. Krause reunites with the ENO Orchestra after having performed in the ENO’s BBC Proms concert Horrible Histories – ‘Orrible Opera at the Royal Albert Hall in 2023. 

‘Stand-out’ (The Arts Desk) British baritone David Stout performs the role of Papageno. A versatile performer, Stout has a formidable reputation for his vocal prowess, refined acting and charismatic stage presence. He returns to the ENO following his performance in The Mikado as Pish-Tush during the 2012/13 Season. 

British soprano and former Harewood Artist Sarah Tynan performs the role of Pamina. She returns to the ENO for her second engagement this season following her ‘heart-stopping performance’ (The i) of Lucia’s aria ‘Il dolce suono’ from Lucia di Lammermoor in Marina Abramović’s opera project, 7 Deaths of Maria Callas. Alexandra Oomens performs the role of Pamina on 12 March (11.00). 

Canadian bass John Relyea performs the role of Sarastro. He has appeared in many of the most celebrated opera houses internationally, including the San Francisco Opera where he is an alumnus of the Merola Opera Programme and a former Adler Fellow. He returns to the ENO following his performance as Wotan in 2023’s The Rhinegold, and for his second engagement this season in Duke Bluebeard’s Castle in March 2024. Jonathan Lemalu performs the role of Sarastro on 19 March. 

British soprano Carrie-Ann Williams makes a welcome return to the ENO in the role of 1st Lady. Williams recently made her ENO debut performing the role of Micaëla in Carmen during the 2022/23 Season. She is joined by Harewood Artist and British mezzo-soprano Amy Holyland who is performing the role of 2nd Lady. Holyland recently performed the role of Flora Bervoix in La traviata in October 2023. British mezzo-soprano Stephanie Wake-Edwards makes her ENO debut in the role of 3rd Lady. Wake-Edwards is an alumnus of the Jette Parker Young Artist Programme. 

British tenor Peter Hoare returns to the ENO to perform the role of Monostatos. Hoare most recently performed in The Mask of Orpheus in the role of Orpheus Man during the 2019/20 Season. Reprising his role from the 2019 staging of the production, New Zealand bass-baritone Jonathan Lemalu returns to perform the role of Speaker. Ossian Huskinson will be performing the role of Speaker on 19 March. 

Australian soprano and Harewood Artist Alexandra Oomens in the role of Papagena. Oomens returns to the London Coliseum stage following her performances in Carmen, Gloriana and The Yeomen of the Guard during the 2022/23 Season. Isabelle Peters performs the role of Papagena on 12 March (11.00). 

Completing the cast is Irish tenor Gavan Ring performing the role of First Armed Man. Ring returns having previously performed in Carmen during the 2019/20 Season. Michael Bell will be singing the role of First Armed Man on 28 March. Harewood Artist and British bass-baritone Ossian Huskinson performs the role of Second Armed Man. He returns to the ENO having recently performed in Tosca and It’s a Wonderful Life during the 2022/23 Season. ENO Chorus member Robert Winslade Anderson performs the role of Second Armed Man on 19, 28 and 30 March. 

Rachel Hewer is the Revival Director, Michael Levine is the Set Designer, Nicky Gillibrand is the Costume Designer, Jean Kalman is the Original Lighting Designer, Mike Gunning is the Revival Lighting Designer, Gareth Fry is the Original Sound Designer, Matthieu Maurice is the Revival Sound Designer, Finn Ross is the Original Video Designer, Jane Michelmore is the Revival Video Designer, Josie Daxter is the Original Movement Director, Gabriella Schmidt is the Revival Movement Director, and the translation is by Stephen Jeffreys. 

The Magic Flute opens on Wednesday 28 February for 11 performances: Feb 28, Mar 1, 6, 12, 15, 19, 26, 28 at 19.00. Mar 9 at 18.00. Mar 30 at 15.00. Mar 12 at 11.00. 

Relaxed Performance: Tuesday 12 March at 11.00. 

Tickets here

© Photography by ASH

REVIEW: Les Noces – The Departure

Published on by evierowanLeave a comment

Rating: 4 out of 5.

A needed decampment from tradition, this collaborative performance is ambitiously new

The evening begun with Andrea Balency-Béarn’s Appels, a great piece to get everyone in the mood for the upcoming Stravinsky, as written in response to Les Noces, Appels utilises four pianos, creating a beautifully discordant yet focused sound which rung out around the huge open metal-filled space of Woolwich Works. Moving smoothly onto Cage Letters by Yshani Perinpanayagam, the love letters of John Cage to Merce Cunningham are set to frantic piano, during which the dancers of New Movement Collective find their way onto the stage, ready for the main event, Les Noces.

Les Noces, or The Wedding (music by Stravinsky, choreography from Bronislava Nijinska) was first performed in 1923, a story of a Russian peasant wedding. The New Movement Collective transform the original ballet into something specifically for today, centred on community and interpersonal bonds. The dancers oscillate across the long narrow stage, never loosing sight of each other. It felt like what temporarily become lost was always found again; there were no loose ends. The dance then centred itself on the the communal recusing of isolated or estranged individuals. Visually, wedding elements were woven through the New Movement Collective’s rendition, with the dancers wearing beige and whiteish coloured modern suit trousers and cropped jackets which are eventually tied together to form a long, trailing veil.

Stravinsky’s score for four pianos was impressively performed, along with the percussion and timpani. At points, it felt like you were listening to a whole symphonic orchestra as the sound was so powerful, matched with the singing from the Opera Holland Park Chorus. Soloist performances from the soprano April Koyejo Audiger and the baritone Ross Rambogin really took you back with their vocal strength.

Stravinsky’s Les Noces is such a historical and traditional work, subject to repeated reinterpretation. However the New Movement Collective, rather then attempting to offer up their own re-do of Les Noces, it felt more like a response to that cultural moment, an echo from the future. I think there was something quite dystopic about Les Noces – The Departure, some vision of the future in which we might only have each other. The somewhat sentimentality I felt after was brightened however by the closing piece from Company Chameleon Youth and ENBYouthCo, as young performers collaborated with the impressive beatboxer MC Zani, and created a spirited and more animalistic response to Les Noces.

This whole project, a mass collaboration between so many groups and individuals, was a perfect piece to perform at Woolwich Works. Being a fairly new arts venue, I hope Les Noces – The Departure, will put it on more audience’s radars. It is an incredible venue, being in what was the Royal Arsenal. Its long history has been maintained and the huge renovated industrial spaces ares classy and versatile. I recommend keeping an eye on their upcoming events.