Tag: English National Opera

Orphée – Philip Glass’s mesmerising homage to Jean Cocteau

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Orphée – Philip Glass

English National Opera, 15 November 2019

After the technicolour excesses of The Mask of Orpheus, English National Opera’s season of operas inspired by the Orpheus myth closes with Philip Glass’s 1991 Orphée, a mesmerising, monochrome hommage to Cocteau’s eponymous film of 1950.

The operas of Philip Glass have proved a rich seam for ENO, with a sold out revival of their award-winning Aknaten (2016), and Satyagraha (2017) – both sumptuous, absorbing productions. For those of us attuned to the slow-mo unfolding narratives and choreography of these operas, Orphée by comparison positively jostles – at least in its opening café scene, the influence of French music and Glass’s studies in Paris evident in this sequence. It is also considerably shorter at only two hours, with a small chamber orchestra, though the music is no less satisfying and I was surprised at how texturally rich it was even with reduced orchestral forces.

This new production of Orphée is directed with great imagination and thought by Netia Jones, who combines live action and projection, including fragments of Cocteau’s film, and a constantly counting digital clock, to compelling effect, continually reminding us of the illusory-versus-reality nature of film. This, along with almost entirely monochrome costumes – black with white details redolent of Cocteau’s own line drawings, and only occasional flashes of colour in the red socks of the waiters, Eurydice’s chintz dress or the vivid fuschia pink costume of the Princess in the closing scenes – creates a highly concentrated effect, allowing one to focus on the drama. And then, of course, there is Glass’s hypnotic, spooling music, its unexpected harmonic shifts creating moments of tension and release, as richly-hued and emotionally varied as Schubert (for this reviewer at least!).

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Jennifer France as The Princess (photo © Catherine Ashmore)

Here the Orpheus myth is given a more relatable, contemporary reading: set in post-war Paris, Orphée is a self-absorbed poet who has become passé, who writes but “does not write”, and who has lost his creative impulse. He craves immortality and believes this can be achieved through his implication in the death of Cégeste, a young, successful poet, played with an appropriately teenage sulleness by Anthony Gregory. Though married to Eurydice, who is expecting their child, Orphée falls in love with the enigmatic Princess (Jennifer France), who, representing Death, lures him into the Underworld, via Resistance-style radio broadcasts, and with the assistance of the chauffeur Heurtebise (Nicky Spence). After the vivid black and white of Paris and its noisy bustling cafés where the poets, artists and intellectuals hang out, here the Underworld is a strange shadowy place of crumbling, bombed out buildings and crazed souls (Albert Einstein makes an appearance, a pleasing nod to Glass’s opera Einstein on the Beach).

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Nicholas Lester as Orphée with Sarah Tynan Eurydice (Photo: DONALD COOPER/PHOTOSTAGE)

“We watch ourselves grow old in mirrors. They bring us closer to death,” wrote Jean Cocteau – and in this production the mirror, as both a reflection of ourselves and our own immortality, Glass’s reflection on Cocteau’s film and Cocteau’s reflections on notions of fame and reputation, becomes central to the visual narrative. Physically, a mirror is the entrance (and exit) to the Underworld, and it becomes a perilous piece of interior decoration when Orphée and Eurydice are allowed to return from the Underworld on the condition that Orphée does not ever look at Eurydice’s face. A large empty frame, which glides across the stage at intervals, serves the double purpose of “framing” the narrative while also reminding us that this opera is based on a film: in effect, it acts as a freeze-frame to capture significant moments; the projections reinforce this.

Although conceived on a small scale, Netia Jones’ production turns this intimate, intense drama into a cinematic spectacular. While some of the vocal colour of the original French libretto is lost in this new English translation, there are some entertaining, witty and genuinely poignant moments, and given the profound, philosophical nature of the Orpheus myth, and Cocteau’s eccentric film, this retelling is satisfyingly human and accessible. There is also a fleeting reference to Gluck’s Orpheus and Eurydice, a fragment of the famous ‘Dance of the Blessed Spirits’ in a flute solo, which neatly connects this to the opera which opened ENO’s 2019/20 season.

There are fine performances by all the lead parts. Nicholas Lester as Orphée is petulant and narcisstic, though increasingly sympathetic towards the close. Sarah Tynan plays Eurydice as the vulnerable, wounded, ignored wife, while Jennifer France as the Princess is haughty and histrionic. But it is Heurtebise the chauffeur, sung by Nicky Spence, who really steals the show, at once obsequious in his duty to the Princess but also tender and caring in his love for Eurydice.

In sum, this is an exquisitely playful, poignant production, with some genuine hair-standing moments, and an accessible, convincing drama that may leave you wondering what really lies on the other side of that mirror in the hallway……

Recommended

Orphee continues at ENO/London Coliseum until 29 November

FW

 

Trouble in Rice’s Underworld

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Emma Rice’s ENO staging of Orpheus in the Underworld has been much maligned in the traditional press recently, much to my dismay. Her efforts to update this nineteenth century operetta to suit the modern zeitgeist and ‘me too’  sensibility have been frowned upon by those supposedly in the know, who see her efforts to change storylines and libretto as “vulgar” and humourless. 

Emma Rice is anything but! She does like to provoke but in many ways there is method to her madness. Much research for a start. And so what if she gets a little carried away sometimes!

Rice follows a long tradition of creatives who have tried to inject new meaning into traditional story-lines. Offenbach himself, cooked up a storm with the press in 1858, when he opened his two-act Orpheus in the Underworld (he wrote two versions – one two act and a later four act) at the Bouffes-Parisiens. On that occasion, the press accused him of satirising Gluck’s elegant Orpheus and Eurydice, of blaspheming antiquity and of attacking Napoleon III – in short he had created a monster!

Gluck’s Orpheus and Eurydice was serious and romantic by comparison (see my recent review of Orpheus and Eurydice at ENO here: McGregor’s Dance in ‘Orpheus and Eurydice’ Gets the Youth Backing)  

In Offenbach’s reincarnation of the myth, the luckless pair are married and unhappily so.

Despite the press’s opposition, Napoleonic society did give Offenbach’s controversial production a chance, and before long, the composer had a huge success on his hands.

When Rice first set eyes on Offenbach’s operetta, she was much disturbed by the representation of Offenbach’s Eurydice as an angry wife, who slept around happily with different gods from Mount Olympus and the Underworld. What was the point, thought the seasoned theatre director, if a modern audience doesn’t feel any sympathy towards Orpheus’s frisky wife. For Eurydice to sleep with Pluto (disguised as a shepherd), Rice wanted her to have a good reason. The reason came in the form of the death of Eurydice’s and Orpheus’s baby and their inability to bond over their grief.

Rice’s tragic narrative add-on has disturbed today’s journalists, who see it as a step too far, a cheap trick and out of place in what is supposed to be a light-hearted operetta. I disagree.

The humour was sparkling in the performance I attended. Alex Otterburn singing Pluto, was magnificent. When he tosses his long curly mane and swishes around in a sequinned suit and flame-tipped trousers with barbed tail singing, ‘I’m as handsome as hell’, you cannot help but laugh. He’s exuberant, a wonderful tenor and perfect for the riotous, rakish role.

Mary Bevan’s Eurydice brought gravitas to the operetta. She was truly moving when she delivered heart-breaking lines such as ‘What is this sweet and strange sensation’ and ‘The mess of living falls away’ in her sweet soprano voice as she lies dying from a snake bite. As a grief-stricken mother, Bevan was totally plausible welcoming death and infernal love as a way of blotting out the trauma of losing a child. Most reviewers, I am happy to say, have praised Bevan’s performance.

The cast of gods and goddesses was equally strong. Willard White’s bass baritone stood out as it should and he played Jupiter displaying just the right amount of calm authority and seductive power as befits the top dog on Mount Olympus. Under that charm, was a person who lies to get what he wants. He seduces Eurydice disguised as a fly, then tricks Orpheus finally with disastrous consequences. Jupiter’s underhand behaviour in the final act is another Emma Rice construct. 

The stage and costumes did much to lighten the mood. Lots of colourful sequin dresses on Mount Olympus in Act II. The kingdom was a gleaming multi-levelled Hollywoodian swimming pool, complete with bellboy servants serving drinks. The gods, backed up by the chorus, created a wonderfully rich sound. Really impressive. Sometimes I had to remind myself I was at the opera though, not watching a Busby Berkley production!

Memorable too, were the Underworld scenes, notably the Peep Show in which poor Eurydice finds herself. Alan Oke playing Styx, stood out as Pluto’s sleazy henchman. Long-haired with a bald patch and dressed in a long, dirty cardigan and mack, he sang a show-stopping “King of Poland” number. Here, he not only displayed his amazing voice but his great comedic ability too.

 

ENO Orpheus in the Underworld 2019, (c) Clive Barda (8)

My concerns were channelled towards the final Act IV, where Rice introduced amplification and a mic at the infernal party where the ghostly gallop infernal ie the can-can, is performed. I am a fan of Rice’s, but mics are clearly redundant in opera! Singers  have spent the best part of their lives building up their voices and have no need of them. The use of amplification and bright lighting had already caused Emma Rice’s premature departure as artist director at the Globe Theatre in 2018. 

Disappointing too was Act IV abrupt end. The tragedy on stage did not reflect in the music. Rice however could not change Offenbach’s music, hence the disconnect.

Otherwise I really enjoyed the performance and one cannot take away the brilliance of the stellar cast. I feel I have not done them justice in this review but go and see for yourselves.

And one other thing – it’s my little guilty secret. I have seen a lot of opera in my time but never Offenbach’s Orpheus in the Underworld. I had no preconceived ideas on how it should be staged or performed. I was coming to it fresh, like probably hundreds of late-teens I saw in the Coliseum audience that night, who seemed to enjoy the show as much as I did.

 

KH

Orpheus in the Underworld remaining dates: 23rd, 30th October. 1st, 8th, 12th, 21st, 26, 28th November. Matinées 19, 26th October

Still running Gluck’s Orpheus and Eurydice: 17th, 24th 31st October. 14 and 19th November

‘The Merry Widow’ Comes of Age

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‘Can you hold my drink so that I can leap over you,’ bellows a middle-aged woman in front of me to perfect strangers. Friday night at the Coliseum and some of the punters in the dress circle have been overdoing the Sauvignon. It’s also the opening night of The Merry Widow and all this boisterous behaviour seems de rigeur.

Franz Lehar’s operetta was considered licentious and shocking in 1905 when it was first performed at the Theater an der Wien in Vienna. Soon the word spread like wildfire and its melodic tunes such as The Merry Widow Waltz, Vilja and Chez Maxim’s were hummed in the street and played on every home piano around Europe.

My eye is drawn to a well-built male in a theatre box adjusting his bright pink feather bower, hair net and diamante hair clips.

The whole of humanity it seems has shown up tonight: opera buffs, young couples with plastic flutes of prosecco, coach parties up from the shires (The Sauvignon crowd). Having arrived on my tod, I am soaking in the mirthful, irreverent atmosphere. The Opera Comique in Paris would have been like this in its heyday.

Operetta is not usually my genre. A mixture of singing and speaking (it is after all the precursor to musicals) tends to grate on me – especially when the dialogue is antiquated and out of synch with today’s sensibilities.

But I have heard Richard Thomas, the librettist, speak recently in interview about his new English translation (from the German). Thomas is used to working outside the box, having being involved in Jerry Springer: The Opera (2003) and Anna Nicole (2011). The dramatist, April de Angelis, also has been employed to modernise the dialogue. Thomas speaks compellingly about The Merry Widow. He claims that it is now fit for the me-too generation (well perhaps not quite).

It is the story of a fabulously wealthy woman, Hanna Glawari, who has recently been widowed. The Baron Zeta, ambassador to the impoverished Balkan state of Pontevedro, wants to marry her off to a Pontevedrin citizen, so that her much needed cash doesn’t leave the country. The lengths he goes to find a suitor, the misunderstandings along the way, create the comedy.

An operetta has to be funny to work. It is, aside its music, its raison d’être.

In this respect, the libretto and spoken dialogue worked well, sometimes a little cheesy but most of the time very funny. A few Brexit jokes and the clerk, Njegus, played by Gerard Carey, was hilarious. In a surreal moment he tries to prevent the Baron Zeta from discovering his wife with her lover under a banquet table. To distract the Baron he grabs a lobster from a dish: ‘I’m being attacked by a lobster and I’m vegan!’ I was reminded of Manuel from Fawlty Towers. As for the song with the seven males lined up in front of their urinals, bemoaning women – well you have to see it. I wasn’t the only female to laugh and then cringe as things got out of hand!

And so to the vocalists. Hannah, played by Sarah Tynan, is a superb soprano. Her version of Vilja, was quite spell-binding. The audience hung onto her every word as she performed the aria sitting on a suspended crescent moon.

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Paired with baritone Nathan Gunn in the role of the Count Danilo, she seemed to lose her sparkle however. The romantic duets did not move me as much as I would have wished. Gunn’s voice thinned out on the higher register. And yet he played the reprobate well and seemed more comfortable singing bawdy songs and Chez Maxim’s.

The more successful romantic pairing was that of Rian Louis, Valencienne, and Robert Murray’s Camille. Both sing beautifully and are wonderfully funny and touching. Their duet in a broom cupboard was most memorable, especially as they emerged from a giant painting of a beaver. Not very subtle in its erotic intent but amusing all the same!

The choreography was also slick and designed to amuse. The grisettes dancing in their Doctor Martin boots, the male dancers in their satin shorts straight out of La Cage Aux Folles. I couldn’t help but laugh at the old men with their Zimmer frames scuttling across the stage. Heaven knows why that was funny but it was!

All in all an entertaining new production with great musical highlights.  I left the Coliseum humming the The Merry Widow Waltz and dived into the St Martin’s Lane crowds with a light heart.

 

 

 

The Merry Widow runs for 12 performances: 1,6,8,9,13,15,22,27 and 29 March and 1 and 4 April at 7.30pm and 13 April at 3pm

 

KH

 

Soprano Romaniw Sparkles in Miller’s Revival of La Bohème at ENO

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Jonathan Miller was one of the reasons I started to take notice of opera in my early twenties. On camera, Miller spoke impressively of his aims to change opera for the better. Inventor of the time-shift opera, he was bent on creating better, more authentic drama. Out went the kitschy costumes, bad acting and antiquated sets so often associated with the opera genre.

In the 1980s Miller’s cinematic staging drew new audiences and his innovative stage direction breathed new life into iconic opera characters. People wanted to be entertained as well as hear the greats sing but predictably some opera stars were reluctant to change and refused to take orders from Miller. After many successes and a few run-ins with management and stars, Miller announced his departure in 2004, aged 74. Five years later however he was back staging La Bohème for ENO in 2009. His production was repeated a year later and in 2013, with Natasha Metherell in charge of the revival’s direction, the production was deemed flawless on every level by opera critics.

As the curtain went up on the opening night of the fourth revival of Miller’s ‘La Bohème’, I sighed with pleasure as I took in the 1930s artist studio with its high, narrow windows, lit to perfection. Rodolfo and Marcello working at the window in the dwindling light, painted the perfect picture of Bohemian Paris. Marcello, artist, had been stripped of his beret and smock and his thumb was not pointed at an easel. No easel in sight. Miller had spirited away all the embarrassing clichés of previous 19th century-inspired productions.

La boheme - Puccini - English National Opera - 26th November 2018 Conductor - Alexander Joel Director - Jonathan Miller Designer - Isabella Bywater Mimi - Natalya Romaniw Rudolf - Jonathan Tetelman Marcello - Nicholas Lester Benoit/Alcindoro - Simon But
Nicholas Lester, Bozidar Smiljanic, Simon Butteriss, Jonathan Tetelman (photo by Robert Workman)

The scene with Rodolfo and Marcello and fellow bohemians gently ribbing each other and jokingly bemoaning their fate, was authentic and charming. Comedic moments supplied by landlord, Benoît, were a joy. Simon Butteriss in the role was so close to Leonard Rossiter’s character in the sitcom Rising Damp. His boasts and gripes about the female race: “Skinny women are here to spite us“, elicited laughter from a row of girls seated behind me in the dress circle.

A more serious Jonathan Tetelman in the all important role of Rodolfo was making his European debut. His voice, though sensitive and sweet, especially in the upper register, came across as tight alongside Nicholas Lester, whose warm, more assured delivery was perfect for his Marcello role.

In the interval, my neighbours wondered whether Tetelman should have turned to face the audience more. True – the set may have been a little challenging for him. The Paris studio was set back on the stage and Lester and Tetelman were singing from an upper level. Their voices had to carry across the stage, over the orchestra pit, across to us in the dress circle.

That said, the friendship between Rodolfo and Marcello was artfully portrayed. Tetelman is potentially good in a romantic role too but with Natalya Romaniw’s soprano, who sang the part of Mimi, mostly to perfection, his voice was not put to full advantage. The all-important moving arias of Act One were however well executed by both singers.

Rodolfo’s and Mimi’s love is subsumed in the hustle and bustle of Act Two. The stage set was striking: a café, with mirrors down one wall, a row of apartment buildings and roof tops disappearing off into the distance to the right of the stage, giving it great depth and breath. This allowed the chorus room to move around in and for the military band to break through the crowd and march off to great fanfare.

If Act Two is all about lightness and movement, Act Three plunges the audience into an atmosphere of darkness, stillness and hell. Miller’s set does this so eloquently. Two prostitutes straight out of a Brassai photograph loiter for business outside a dimly lit bar. Mimi appears from a partially-lit alleyway looking pale and anxious. The quartet when it came, with Mimi and Rodolpho versus Musetta and Marcello, worked quite well, Mimi and Rodolpho’s poignant lyricism piercing through Musetta’s and Marcello’s bickering. Nadine Benjamin, fresh from ENO’s enormously successful Porgy and Bess, where she played the role of Clara, portrayed a rather pared down version of Musetta. She was not as confidently petulant as I would have liked. Her voice was at its best in the final act when she had given up on flirtatiousness and sung movingly around the dying Mimi.

The star of the evening was without a doubt Natalya Romaniw, who was singing the role of Mimi for the first time. Having already been impressed by footage of her singing in the role of Tatyana in Eugene Onegin at Garsington, I knew I would already be in for a treat with La Bohème. Something in that mournful timbre of hers just seizes your heart. Her portrayal of Mimi has still a way to go, but her voice lingers in your head days after you have heard her sing. A true star, Romaniw brings further magic to what is already an arresting production.

KH

La Boheme continues in repertory at ENO until 22 February 2019

Further information

(Header image: Jonathan Tetelman and Natalya Romaniw)

Britten’s War Requiem finds new life with ENO’s staging

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At the Coliseum to watch the first UK staging of Benjamin Britten’s War Requiem on its opening night, I was curious to see how Turner prize-winning photographer, Wolfgang Tillmans would tackle this work as set designer.

War Requiem’s reputation has soared since 1962, when it was first performed in Coventry Cathedral. As a choral work, it now enjoys the same popularity as Handel’s Messiah.

The horrors of war remain a compelling theme with modern audiences and Tillmans, who is German and a pacifist, leapt at the idea of staging Britten’s work. It is one thing however to be an edgy artist such as Tillmans, and to stage an opera (plenty do), but War Requiem is hard to define, it is a hybrid choral work drawing its text both from church liturgy, the Mass of the Dead, and Wilfred Owen’s war poems.

So what does ‘staging’ really entail? Isn’t there enough movement and richness in the text and musical score for us to conjure for ourselves the full terror of death and war? The male solo parts are so achingly beautiful and poignant. And if the libretto wasn’t enough, ENO has enlisted 120 singers in the chorus, 3 top soloists and an 85-strong orchestra to hammer the message home. And yet I do understand ENO’s wish to bring another dimension to the work.

I had watched a 1964 black and white BBC film of War Requiem on YouTube. Presented by Richard Baker in clipped British tones at the Albert Hall, it brought back to me how stiff a concert performance could be. The soloists, choirs, musicians all in their appointed place on stage; singers standing to attention when it was their turn perform. I also watched a more recent Festival Hall production, which felt more fluid, less regal and stiff.

ENO’s War Requiem gets off to a terrific start in the opening movement. The pages of Ernst Friedrich’s 1924 anti-war book, entitled ‘War against War’ are projected onto two LED screens with the chorus in darkness behind them. The children’s choir starts up – and at the same moment, illustrations of tin soldiers and toy guns appear, the equivalent of today’s computer war games. David Kramer, Artistic Director, dramatises this point later on in Offertorium, when the soprano, the wonderful Emma Bell, is seen leading a young boy to a grave. A funeral is taking place. He breaks away from his mother angrily to play on his iPad, which he inevitably bashes with his little fist.

But back to the opening. The screen slowly parts and little by little the chorus come through to centre stage singing ‘perpetual light shine upon them’ while the audience is presented with photographs of dull-eyed soldiers with monstrous facial disfigurements – a soldier with a badly grafted nose, another with a gaping hole where his mouth should be. But then the projections cease, the chorus plays dead, and the tenor, David Butt Philip, starts singing Owen’s words taken from ‘Anthem for doomed Youth’. Here the poetry does the talking and we are able to fully focus on his extraordinary expressive voice. David Butt Philip was the star of the night for me.

And this is what Tillmans meant in a recent Times interview. He was keen ‘to leave room for the sung word’. For almost a third of the time, Tillmans sensibly chooses to have a blank stage, most notably in the middle section of the last movement, Libera Me, when the ghosts of a British and German officer meet. ‘I am the enemy you killed, my friend’, sings Roderick Williams in his gentle baritone.

Although Tillmans is careful not to intrude on our musical pleasure, at times his imagery feels arbitrary, like Tillmans’s photographs of battling football hooligans which although powerful images in themselves, bring nothing new to the equation.

Tillmans is more effective when he focuses his canny photographer’s eye on nature. Branches split in two in the style of Paul Nash, or a giant white chrysanthemum, which might represent a mushroom bomb or be a symbol of regeneration.

I loved the final scene: a lofty, open window suffused with bright green light with a tree filling its frame. Stage lighting moves the audience’s eye to a grave on the stage. The change in emphasis charters the changing mood of Britten’s musical finale.

Equally impressive was the calibre of the ENO chorus. Not only was their sound rich and nuanced but the cast moved and lay down well creating the most ghostly of tableaux. One particular picture sticks in the mind; their piled up bodies in the Srebrenica scene. A flyer commemorating the 1995 massacre is projected on a panel. Or in Libera Me, lying down in the snow. Beautifully lit, they brought to mind the painting ‘Gassed’ by John Singer Sargent.

Less well achieved was the Abraham parable section. Too many cast members swirling around on stage. The dramatic moment of Abraham raising a knife to his son is somehow lost in the crowding. There seemed to be timing issues at this point between the singers and orchestra but this is the only time I felt things might have been a little out of synch in an otherwise fluid staging.

Despite this very minor quibble, I left the Coliseum feeling that the bar had been greatly raised in this staging of War Requiem and that the work had received a new lease of life thanks to inspired direction and stage design.

So does this mean the end of plain old concerts? I doubt it. Certainly I applaud ENO for presenting a musical work in a new light, but equally I believe audiences should be given space to ponder the music. Imagination is a dwindling commodity in this world where everything needs to be explained. It will be a sad day when it becomes redundant.

War Requiem has a further 5 performances on 22nd, 27th, 29th November and 4th and 7th December at 7.30pm.
English National Opera

KH

 

 

The shudder that counts: ‘Salome’ at ENO

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In the week of the Brett Kavanaugh hearing in the US, and the ongoing MeToo movement, which both raise potent and complex questions surrounding male power and control, toxic masculinity and the male gaze, and whether women “ask for it” by behaving or dressing provocatively, English National Opera’s 2018/19 season opened with Richard Strauss’s dark and disturbing psycho-drama Salome in a visually striking and elegantly-sung new production.

The narrative is well-known, from the Gospels and the play by Oscar Wilde, from which came Strauss’s influential transformation into an opera, premiered in Dresden in 1905 in that heady, decadent era before the outbreak of the First World War. At its premiere, the opera perfectly caught the spirit of its time – the era of Freud and Jung, Beardsley’s Yellow Book, and the art of Klimt and Schiele – and was an instant success. This new “feminist” production, directed by Adena Jacobs, also catches the zeitgeist. Freighted with contemporary sensibilities and preoccupations, the opera offers a warning about the dangers of toxic masculinity and unchecked female desire. The spare modern setting with references to contemporary life, pop culture and gender fluidity further underline this.

Right from the outset, we know that “terrible things will happen”. In fact, we never actually see the head of John the Baptist (or Jokanaan as he is in Wilde’s and Strauss’s versions), but we know it’s coming. It arrives not on a silver salver but casually chucked in a plastic bag such as the type in which one might carry a takeaway curry. Earlier in the play, a pink horse, its cascading entrails represented by pink and red flowers, is brought on stage. Decapitated, it provides a metaphor for the final denouement.

Strauss’s music is haunting and sensuous, pungent and perfumed, and because the work is organised in one act, with an almost continuous flow of action, one has the sense of the tension-laden drama creeping inexorably to its brutal conclusion. Under the baton of ENO music director Martyn Brabbins, the orchestra shone, bold and beautiful.

Salome herself, sung by Allison Cook whose light soprano seems just about perfect for this role, is a pouty teenager who insinuates her way on to the stage and into the action as Narraboth (powerfully sung by Stuart Jackson) extolls her erotic girlish charms. Largely presented in darkness, Narraboth and his cohort are in a roped off area, as if waiting to spy a celebrity at a red-carpet event or queueing to enter an exclusive nightclub, while Salome remains quiet and aloof in the darkness, the light occasionally catching her pale blonde Ariana Grande-style ponytail.

The voice of Jokanaan is heard first via a loudspeaker. David Soar’s baritone is rich and declamatory, and when the scene shifts to the cistern in which he is imprisoned, strikingly lit from above suggesting a prison grille, we get a close up projection of his mouth forming dark prophecies and stentorian outpourings. Presented initially in monochrome, it changes to colour as the heat of Salome’s desire increases. It’s moist and plump and when the camera turns 90 degrees, it looks like a vagina….. All this, appropriately, while Salome sings of her lascivious desire to kiss Jokanaan’s lips. Narraboth, meanwhile, is voyeuristically filming the proceedings on a hand-held video camera, hardly able to contain his base urges before he kills himself.

salome

The ensuing banquet scene presents Herod (Michael Colvin) as a bumptuous prancing clown, luxuriating in Narraboth’s gore which puddles on the stage. While he drunkenly cavorts, his wife Herodias (Susan Bickley) looks on, haggard and tight-lipped with disapproval. In contrast to the salacious action on stage and the decapitated My Little Pony with its spewing entrails, a giant image of a beautiful blindfolded boy – somewhat androgynous – fills the backdrop. Caravaggio-like, it was, for me, one of the most striking visuals of this visually-arresting production.

Salome’s girl-gang of maidservants perform the Dance of the Seven Veils. Béyoncé lookalikes – all swinging ponytails, golden leotards, face masks and chunky trainers – their dance is a mixture of aggressive pelvis-thrusting body-pump and sensuous masturbatory writhing. While this goes on, Salome tugs her long hair away, revealing a boyish cropped cut, perhaps signalling her appropriation of masculine powers.

And so to that denouement……You know full well what’s in the plastic bag – it has a horrible dread weight about it, palpable even from the Dress Circle. It’s like that scene in the film ‘Seven’, when Kevin Spacey appears before Brad Pitt with the closed cardboard box… We don’t need to look inside to know that something terrible, horrible, and disgusting is in there. The fact that Salome hardly looks at the bag containing the Baptist’s head lends an equal sense of disgust, as if she is cannot bring herself to look at the thing she thought she most desired. This recalls her first encounter with Jokanaan, where, despite her lascivious obsession, she never actually looks at him directly. The kiss, when it comes, is not placed upon Jokanaan’s dead lips but those of Herodias, Salome’s mother (who wanted Jokanaan dead all along). So “the shudder that counts” (Wilde) – maybe it was all in Salome’s head?

Salome continues at English National Opera until 23 October

FW

(Header image: Allison Cook as Salome; Jokanaan in his cistern by Catherine Ashmore)

 

‘Marnie’ at English National Opera

ArtMuseLondon1 Comment

The plot of ‘Marnie’ has all the prime ingredients for dramatic classic opera: childhood secrets, multiple identities, unspoken feelings, disturbing relationships, kleptomania, lust, sex, treachery, betrayal and subterfuge. In creating his brand new opera for ENO and the Met in New York, American composer Nico Muhly turned not to the “insane sadism” of Alfred Hitchcock’s film (and his disturbing obsession with Tippi Hidren who starred as his eponymous heroine), but to the novel by Winston Graham, author of the ‘Poldark’ series, on which Nicholas Wright based the libretto. Comparisons will inevitably be made with the film and the novel, but I deliberately avoided seeing the film ahead of the premiere and have not read the book. Muhly brings the action back to England (as in the book) and the first act opens in a drab 1950s office in Birmingham before moving to Barnet and Beaconsfield.

One of the key themes explored in the opera is the control and objectification of women via the lustful male gaze. This of course is up-to-the-minute topical and lends an additional frisson to the drama. Throughout Marnie is being watched, tracked and objectified – from her first meeting with Mark Rutland to the queasily flirtatious encounter with his brother Terry (brilliantly sung by counter-tenor James Laing, whose voice is by turns wheedling and shrill). To emphasise this further, she is stalked by a group of sinister men in grey suits and homburg hats, who step in and out of the shadowy corners of Marnie’s conscious and the set, providing a constant masculine antagonism (both physical and metaphorical), and whose writhing dancing also serves to inform the narrative.

It is the psychology of Marnie herself on which the plot hinges and music is the means by which her secrets are unlocked. Instruments at their highest and lowest registers (specifically a solo oboe) become the mouthpieces for her when she is under the most extreme pressure. In the same way, each instrument is paired with a character in order to express his or her unspoken feelings. In a narrative where people are continually lying, the orchestra, by contrast, never lies: Mark Rutland’s lust is expressed by the trombone, while Terry’s loucheness is portrayed by a sleazy sinewy trumpet motif. Thus sound is used to convey powerful emotions in a way the text or action don’t always inform us: trembling slicing strings, frenetic percussion, shrill yet haunting woodwind, together with urgent agitato rhythms or long layers of sound and spooling melodies. The splendid ENO chorus is also used to great effect, acting at times like a Greek chorus to comment on the action, taunting Marnie or revealing her inner thoughts. Her psyche is further expressed through four Marnie-clones, whose vividly-coloured costumes vibrate against the drab set. These “Shadow Marnies”, as Muhly calls them, are particular effective in the psychiatric analysis scene in Act II where they interchange with one another and Marnie herself, suggesting her confused mindset as she confronts her complex emotional landscape and troubled past.

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Sasha Cooke as Marnie (photo: Tristram Kenton)

Sasha Cooke as Marnie is marvellous, her mezzo voice resonant and expressive (and brilliantly sustained throughout as she barely leaves the stage during the entire opera), and her interactions with Mark Rutland, sensitively played by David Okulitch, who succeeds in appearing both sexually predatory and vulnerable (and as a consequence one of the more sympathetic characters in a cast of generally unlikeable people) are edgy and compelling in their portrayal of this couple’s difficult relationship. Lesley Garrett makes a wonderful cameo appearance as Mrs Rutland, the manipulative matriarch.

The costumes, designed by Arianne Phillips, are fabulous – deeply evocative of the era (late 1950s) and a hommage to the Hitchcock film too. Martyn Brabbins, in his first appearance as the new director of music of ENO, conducts with subtle sensitivity, while the spare set and staging allows characters and music to come to the fore with tautly-paced drama (at times almost unbearably tense, particularly in the first act) and moments of deeply disquieting dramatic irony. The only longueur for me was the fox hunting scene (used in the narrative as a metaphor for Marnie’s constant flight from her past and her persecutors). Not easy to stage, it was cleverly organised with a projection of galloping hooves, but it was not entirely convincing and was rather too drawn out.

Overall, a compelling and enigmatic psycho-thriller.

‘Marnie’ continues in repertory at English National Opera

 

FW