A steep stage that tips and tilts like a raft lost in a stormy sea; clogging, gurgling sound effects; chalk words animated in live video; paper birds flying with the rush of black figures; Trials of fire and flood that appeared to engulf the entire theatre. The orchestra sits high above the pit and the solo flutist rises from his seat to provide the real magic the story demands. Sometimes the audience is on the verge of participating (terror upon terror) as the characters tear through the auditorium. Mozart and his librettist, actor-impresario Emanuel Schikaneder, loved the pantomimic theatrics, anarchy, inventions and illusions of the English National Opera. Magic FluteIt’s the third revival since its premiere in 2013 and is directed by Erina Yashima, making for an ear-catching debut.
In a collaboration with the Complicité theater company, led by co-founder Simon McBurney, the action moves through space as if there were no walls (designs by Michael Levine). Shakespeare’s Storm It is a meaningful reference point. Bringing this complex staging back to the Colosseum at a time of such crisis – the break-up of ENO is an ongoing saga of governance and the embarrassment of Arts Council England – came with risks. We can assume that the budget was limited and rehearsals were reduced to a minimum.
Manon dies in a wasteland of golden curtains. Metaphor rules
This may have been evident in a few dodgy moments, but the cast rose to the challenge thanks to the expert work of animation director Rachael Hewer. There were a few standout performances: Sarah Tynan, a former ENO Harewood Artist, shined as Pamina; Rainelle Krause makes a stunning debut as the angry, fierce Queen of the Night. David Stout’s stolid, ladder-carrying Papageno had charm and humor, and John Relyea as the smooth, television evangelist-style Sarastro was stylish, loud and chillingly adept. The enthusiasm and finesse of the orchestra was best matched by the choral work. This best-selling series, which received applause and laughter on the first night, is a must-see. We may not have another chance unless we go to New York, where he is now a fixture in the Metropolitan Opera’s repertoire and spares no expense.
English Touring Opera had secured a strong cast for its new production of Puccini’s opera. Manon LescautIt was directed by Gerry Cornelius (who opened the company’s spring season at Hackney Empire) (Stravinksy’s Rake’s Progress following this weekend). Gareth Dafydd Morris, convincing as the bright-voiced and attractive Jenny Stafford as the hesitant heroine and her lover Des Grieux, led an effective ensemble with support from Aidan Edwards (Lescaut) and Edward Hawkins (Geronte) and a lean, characterful chorus. . The orchestra was small, but it made up for the weak climaxes with impressive string solos. Musically, the performance was on solid ground.
Unfortunately, the production, directed by Jude Christian, who also re-edited the libretto, was stumped from the start. Who were these people dressed in intricate, colorful velvet, adorned with orange nets or yellow feathers, or waving a pink toy poodle? Why was Manon wearing a blue wig like a cheap doll, and why was her rich suitor, Geronte, given a rouge-cheeked make-up, or why was her lover dressed all in white? The director’s notes explained that the opera was conceived as a nightmare. So turning it into surrealist horror defeats purpose and intent.
Adapted from Abbé Prévost’s novel, the action in the original takes place in 18th century France and ends in the Louisiana desert. ETO’s version takes place in a swimming pool depicted with blue curtains and fountains. Manon dies in a wasteland of golden curtains. Metaphor rules. All this, designed with intense care by Charlotte Henery so that the show can tour 15 venues between now and the end of May, would be tolerable if the emotion of the work were not stripped away. No matter how you interpret Manon—as the fickle gold digger sensitive to baubles and beads, or as the abused woman thwarted by misogyny—the urgency of her love for Des Grieux, expressed through the soaring music, gives the work its backbone and tragedy. Here the lovers were harsh, cold and deliberately detached. Go singing. Tell me I’m getting it all wrong.
It was announced last week that a change would be made Radio 3, but when you look at the new program (from April), you see that it mostly consists of changing, extending, cutting, adding things. An important move is the informative Saturday morning fulcrum maneuver. Record Review to a lower profile afternoon slot. Music Matters is to be less news and more feature focused. A jazz slot, ‘Midnight TourAlong with Soweto Kinch will bring a nice variety of music five nights a week. Tom Service’s new Saturday morning show is sure to have edgier aspects, and Sara Mohr-Pietsch’s Sunday afternoons look intriguing, too. Much of the rest feels like an embrace of Radio 2 and Classic FM.
No matter how well-intentioned you are towards the presenters, old or new, Radio 3’s problem is not primarily the voices but the program content and spirit of inquiry. This involves rigor and surprise. This gives the station exclusivity (and let’s leave aside the talk of elitism, highbrow or lowbrow). Radio 3 is a place where, over the generations, many of us have grown interested in classical music, where our ears have stretched and our minds have expanded; and still is. This requires active listening. Otherwise, we can get what we like in playlists created by artificial intelligence. I’m holding my breath. Go to Radio 3!
Star ratings (out of five)
Magic Flute ★★★★
Manon Lescaut ★★