THOROUGHLY MODERN MAN: Eugene Onegin, ENO

Pushkin and Tchaikovsky make a potent combination. Eugene Onegin is a staggering opera - one of the greats, and this new joint-production (with the New York Metropolitan Opera), directed by Deborah Warner, is a fresh and exciting version.

As always at the ENO, the opera is sung in English. This is not normally a concern, however this is one of the weakest translations I have heard the ENO work with. The rhymes are, at best, silly; and the language is often predictable and frothy. This won't matter to audiences in New York, who will no doubt hear it all in Russian.

Putting this to one side - the staging is impressive. The first act is staged in a country house, looking out on to the path and surrounding fields. It is a huge set, with massive girders on the ceiling, a staircase to the right, and large swinging barn-doors separating the relative safety of the domestic world from the outside. We are taken on a dramatic journey through ornate ballrooms, barren woods in winter, and on to the towering pillars of St. Petersburg.

In the title role Audun Iverson is physically commanding, but I never believed that the brain and soul of Onegin - complex and tortured - was working behind his eyes. The climatic outpouring of love at the moment he realises his mistake of refusing Tatyana, did not capture the audience as it might have done.

By contrast, Amanda Echalaz (Tatyana) was wonderfully committed to the role, particularly early on. Her first act aria, as she battles with her feelings for Onegin, was breathless and raw - she seemed locked into the mind of a young adult, coming to terms with love for the first time.

But it was Toby Spence (Lensky) who sprinkled magic over this opera. His second act aria, moments before his fatal duel with Onegin, was spine-tingling. It showed what opera is capable of when directed and performed effectively. Throughout his performance Spence sings close to the edge, taking risks at every opportunity, and it is this that makes him so compelling to watch.

The second act also marks the peak of this particular production. It sadly never reaches the same heights once Lensky has died. The final goodbye between Onegin and Tatyana almost bordered on pantomime, and there seemed to be something missing from the final act in general. There did not seem enough tension generated by their re-introduction (after a three year separation) at the beginning of the act , and it proved impossible to regain that momentum from there on in.

The vast chorus perform well, but are never as engaging to watch as the dancers, who steal the limelight in the ensemble scenes.

It is a shame that the final moments of this opera fail to live up to much of what has come before. The second act, in particular, really is tremendously exciting, and if maintained, may have resulted in one of the opera events of the year.

Eugene Onegin continues until 3 December, book here.

Written by a Thoroughly Modern Man, Alex Knox.

The Marriage of Figaro, ENO

Some things work, others don’t in Fiona Shaw’s new production of The Marriage of Figaro at the ENO. The set is not to my taste, a modern white labyrinth structure that looks just too temporary. The endlessly revolving centre of the stage muddles the action rather than enhancing it. Furthermore I was confused about the period in which Shaw sets the opera, the set is overwhelmingly modern and yet the costumes seem to suggest the 18^th century.

I did feel sorry for the ENO on the night, with the last minute illness of Kate Valentine (playing the Countess) they had to find a very fast replacement and Elizabeth Llewellyn rose to the challenge with impeccable style and stamina joining the cast and fitting in remarkably. Llewellyn is a brilliant actress and competent singer and they were incredibly lucky to get her, she gave a stand out performance.

This is not my favourite of the Mozart operas, it is lengthy and drags a little, nonetheless there are numerous toe tapping tunes. Iain Paterson is thrilling as Figaro giving a humorous rendition of the title role, and proves himself to be a competent actor as well as being vocally brilliant. Devon Guthrie as the much desired Susanna looks and sounds the part and interacts beautifully with Paterson. My favourite performance of the night was Katryn Rudge as the petite Cherubino, Rudge has a gorgeously bright and spritely voice and suits the cheeky role perfectly.

Conductor, and former ENO Music Director, Paul Daniels leads the orchestra through this frantic score with a firm but expressive hand, and the players respond well.

After seeing the ENO’s spectacular productions of The Passenger and Elixir of Love I was expecting a lot from this Mozart classic, but I must admit, I left feeling a little disappointed.

Visit ENO website and book tickets here.

The Passenger, ENO

The Passenger is a bleak story, but through the medium of opera it resonated with the audience last Wednesday to the extent that by the end many were on their feet applauding, touched by the melancholy account. Based on the semi-autobiographical novel ‘Pasazerka’ by Auschwitz survivor Zofia Posmysz, it is brought to the stage by librettist Alexander Medvedev and composer Mieczyslaw Weinberg, and translated into English by Professor David Fanning, a lecturer who taught me at Manchester University!

I went along to the UK Premiere at the ENO to witness this dark work for myself. Set in the early 1960s and focussing on the after-effects of the Holocaust, it is unsurprisingly a heavy night. Johan Engels’ set is marvellous, a symbolic white ship that beneath the decks reveals a dark and dusty camp, home of the tortured prisoners. This visual juxtaposition is intensely shocking and makes the narrative even more appalling.

The opera documents an encounter between two women – one is a former Auschwitz guard, the other a former prisoner. We watch the story unfurl in the camp, while in the present (fifteen years later) they unexpectedly meet again on a boat to Brazil, provoking feelings of guilt, terror, sadness and revenge. The action darts back and forth between past and present.

Weinberg’s music is challenging and unexpected, and demonstrates a mix of influences. Expansive and complex, I was amazed by the fluency of the orchestra and conductor (Sir Richard Armstrong). I was most moved by the folk tunes in the second half, especially the a cappella Russian song by Katya (Julia Sporsen). Vocally the cast are tremendous, and particular mention must go to leading ladies Michelle Breedt (Liese) and Giselle Allen (Marta) who both sing superbly, making the impossibly difficult and discordant music beautiful and powerful.

Weinberg’s The Passenger is a modern masterpiece and the ENO delivers a staggering experience. I hope this opera gets the recognition it deserves, the massive effort and dedication is clear in every aspect of this production.

The Passenger continues until October 25, book here.

The Elixir of Love, ENO

I absolutely loved this production of Donizetti’s ‘The Elixir of Love’. Never have I walked away from an opera production with such a spring in my step and smile on my face, it was simply delightful. Legendary director Jonathan Miller rarely disappoints and here he exceeds all expectations, reviving his popular production of this comic classic.

Set in the 1950’s, inspired by the era of Marilyn Monroe, it feels as if Donizetti precisely intended this setting and time, the modernity chimes with the fun and flirty storyline and score. Designer Isabella Bywater presents us with her kitsch pastel scenery, Adina’s Diner stands illuminated in the centre of the stage, surrounded by sand and grit, not dissimilar to Grease the Musical's set.

It is a silly love story, but at least one that can be easily followed, and is made believable by the witty acting and obvious enthusiasm of the cast. Adina, cute and coquettish, flits about her diner admired by all the boys. A poor local man, Nemorino and a conceited visiting soldier, Belcore both lust after her, desperate for her hand in marriage, but Adina is carefree and independent and refuses them both. Meanwhile an eccentric doctor, Dulcamara arrives to sell his fraud portions to the townfolk. The confidence of the soldier eventually sways Adina and they arrange to be married that night. Nemorino is defeated and distraught and begs Dr Dulcamara for a love poison to win over Adina’s heart. Coincidentally, though the portion is only cheap booze, Nemorino inherits a fortune and becomes immediately popular. Adina realises her mistake - she does love Nemorino after all and they are united.

Sarah Tynan has the charm and attitude to make the perfect pin-up girl Adina, and isn’t lacking in the looks department either. With a peroxide blonde hairdo and a cheeky pink uniform she shakes her hips and isn’t afraid to flirt naughtily on stage. Her soprano voice is bright and clear, and she controls it well during the fiddly arias, running up and down the virtuosic passages with elasticity. She is surrounded on stage by a cast of talented men, Ben Johnson is brilliant as the lovesick Nemorino; with a gorgeous bel canto tenor voice he suits Donizetti’s music well. Andrew Shore is hilarious as the fraudulent doctor, witty and full of life, his acting and singing are commendable.

The orchestra provide a jolly accompaniment, conducted by a very young but dynamic Rory Macdonald. My only criticism would be the sound levels; at times the ensemble work is a little weak and quiet, getting lost amongst the rich orchestral score.
This is a truly fabulous production that is not to be missed. A charming romantic comedy that will woo every audience member.

Continues until 8 October 2011, book here.

'Two Boys' at ENO

‘Two Boys’ is the new opera from talented young musician and composer Nico Muhley with librettist Craig Lucas, commissioned by the Metropolitan Opera in New York in collaboration with the ENO. It is based on a poignant (and true) news story - we watch Inspector Anne Strawson as she struggles to find 13 year old Jake’s killer. There is one obvious lead – a teenage boy caught on CCTV leaving the murder scene, and yet as the narrative unfurls it seems there is more to this crime than the obvious facts. To discover the truth, Detective Strawson must delve into a menacing cyberworld of internet sites and chatrooms.

I am usually not keen on modern operas, preferring the opulence of the classics, and yet ‘Two Boys’ kept me on the edge of my seat throughout. The clever storytelling, with tiny clues revealed throughout, left me desperately trying to solve the murder mystery myself; it was completely engaging and captivating, I even forgot about the Andy Murray match taking place simultaneously.

Muhley’s music is complex and requires great concentration from all participants. Rumon Gamba has a challenging job conducting in the pit, and he really exerts himself keeping it all perfectly together. Luckily on opening night, everyone was 100% committed and the result was a stunning and ethereal sound-world that enveloped the audience. It is an enchanting score - spooky and beautiful, imaginative and aggressive, and I found it heartbreakingly moving; towards the end I could feel tears sting my eyes.

Vocally, I enjoyed the chorus moments best: massive, grand, multi-layered writing that conveys the overwhelming reach of the internet. These moments of polyphony hark back to Palestrina’s intricate motets but here the cutting modern lyrics present an alarming juxtaposition. Unfortunately some of the solo lines are drowned by the rich, expansive orchestral textures, a balance will hopefully evolve as the run goes on. This is particularly true for Susan Bickley as Detective Anne Strawson, she gives a stunningly convincing performance dramatically but is vocally not quite powerful enough to always be heard clearly. The two boys however, Nicky Spence as adolescent Brian, and Jonathan McGovern as the young victim, are both outstanding.
Bartlett Sher’s staging is beautifully realised through Michael Yeargan’s designs, a set that really adds to the production. The large chorus stand illuminated eerily at the back while other characters are elevated in darkly lit towers across the front of the stage - it is oddly magical and otherworldly, perfect for depicting the cyberspace realm.

In my opinion, Nico Muhley’s new creation is an operatic masterpiece that will not only stun audiences but will also send out an important message about the dangers of the internet.

Two Boys continues until 8 July, book here.

Simon Boccanegra at the ENO

I coincidentally bumped into a few friends while going to see 'Simon Boccanegra' at the ENO last week. During the interval my singer friend mentioned that although the production was enjoyable it was a shame that the setting and design was so modern. I thought back to the last few operas I had seen at the epic Colliseum and realised that most had had a contemporary set and vision. Despite these modernisations sometimes offering an intriguing alternative message, I realised just how much I missed the glorious costumes, magnificent stage sets and magical props of more conventional opera productions. Opera should transport you to another world - a euphoric experience totally removed from everyday life - and so watching a grey suited chorus sing Verdi on this night was a little disappointing, and reminded me too much of my day job in a smart real estate office. It is director Dmitri Tcherniakov who is to blame, a Russian creative who many had high hopes for after he stunned with his brilliant version of Eugene Onegin at Covent Garden last year.

The story of Simon Boccanegra is ridiculously complex, and after about 20 minutes I gave up trying to follow. The narrative is explained with frequent projections - words appear suspended on the black backdrop on stage. It is not dissimilar to a Harry Potter scene, and I thought it worked wonderfully well- at least it forces the audience to sit up and read, an immediate interaction with the performance.

I have never seen this Verdi masterpiece before, so was surprised by how quickly I connected with the music, a bold score that ENO Music Director Edward Gardner conducts with experience and elegance. Of the singers it was the men that really impressed me, baritone Bruno Caproni sung the title role with a warm rich tone, and Roland Wood was an imposing villain as Paolo Albiani. It did not come as a surprise when Brindley Sherratt amazed with his rendition as Fiesco. He gave an authoritive and confident performance that really stood out. The young and troubled Amelia was taken on by Rena Harms in her ENO debut. Harms looked the part with her striking long dark hair and innocent demeanour, but is underwhelming vocally, and weak in some arias.

I was pleased to see Simon Boccanegra for the first time, and found the orchestral music very powerful and moving. It is rare that I enjoy a score so much on the first listening. However as a production, Tcherniakov’s sloppy ideas didn’t translate well to stage which left me feeling rather dissatisfied.

Simon Boccanegra continues until 9 July, book here.

A Midsummer Night's Dream at ENO

I’ve never seen Britten’s ‘A Midsummer Night’s Dream’ before, although I have sung one of the eerily beautiful arias from it. This was the second of two Shakespearean opera's I watched last Saturday having already seen Macbeth at the Royal Opera House in the morning. Unfortunately in comparison Macbeth was rather more impressive and gripping.

The English National Opera’s new production is certainly not conventional. Director Christopher Alden has scrapped the dreamy forest in favour of a 1960's school yard setting - a tad morbid and bizarre. Some of the characters are teachers (Oberon and Tytania) and some are pupils (Lysander, Hermia, Demetrius and Helena) whilst the lover’s tiffs from Shakespeare’s original turn to adolescent arguments and teenage romances. Charles Edwards’ set is strikingly beautiful and imaginative - giant brickwork walls of an urban British boys school, complete with high windows and several floors, it is staggeringly realistic. For me the design was the highlight of the production.

Visually this opera is quite unbelievable. The vast set and at times the sheer quantity of young boys on stage is enough to make you gasp. No-one can deny it is a daring production: Theseus is a weird paedophile, young boys smoke spliffs and drink and there is even a great fire that consumes the stage just before the interval... but I couldn’t help wondering how necessary all this drama is? It is not beneficial to our understanding, confused the already complicated narrative, and made little sense to me.

The large cast dealt with this odd interpretation as best they could. I have never seen so many young children in one opera - at one point when all the boys lined up across the stage I counted nearly 40! The vocal star of the show was most definitely counter tenor Iestyn Davies as Oberon. He sings this tricky part wonderfully with pitch perfect accuracy and gorgeous tone. I could have listened to him all night. The chorus excelled producing a rich sound and bringing the best out of Britten’s stunning music.

The orchestra worked persistently away in the pit on Britten’s tricky music, and I thought their rendition evoked all the magic of the Britten’s otherworldly score. Leo Hussain performed well too, conducting with a sensitive understanding of the music. Much of this opera’s music is quiet and hesitant - musical directions that are exhausting to conduct, especially for a three hour production. However, this didn’t seem to trouble Hussain at all and he seemed completely at ease throughout.

A very strange, and yet mesmerising production of Britten’s dazzling opera, go and see it if you like your opera a bit on the wild side.

Continues until 30 June, book here.

Wagner's Parsifal at The ENO

It’s not often Wagner comes to town, and I don’t mean the over-excitable X-Factor contestant. Richard Wagner set his own rules when composing, a freedom of expression that can be seen most in his epic operas. Their length and scoring requires a massive cast and orchestra with set and costumes to match. Wagner wrote all his own libretti and creates mythical kingdoms that are weird, wonderful and crazy - his works are unique. It is a great undertaking for a creative team to stage one of his magical music dramas; they must be ready to match his imagination and spirit, strength and character.

The ENO are currently reviving Nikolaus Lehnhoff’s production of Parsifal which was critically commended back in 1999, with the Independent describing it as ‘the most intelligent, provocative and ultimately moving production’. This February most of the original creative team are back for the return show.

The surreal and stagnant landscape is designed by Raimund Bauer and daring costumes by Andrea Schmidt-Futterer. As is normal with Wagner’s creations the story of Parsifal is completely incomprehensible and quite frankly a bit ridiculous. There is a lot of faffing about on stage, complicated background details and bizarre characters that seem to have no relevance to the plot. The opera is his final one and is written in three acts. The narrative is loosely based on Wolfram von Eschenbach's ‘Parzival’, a 13th century poem that tells of an Arthurian knight and his quest for the Holy Grail.

I felt honoured to be seeing great Wagnerian singer John Tomlinson who can boast performing for eighteen consecutive seasons at Bayreuth Festival from 1988. He plays Gurnemanz, the trusty chronicler of the Grail’s history. When I saw the opera, Tomlinson was everything I hoped he would be: powerful and yet gracious, he commands the stage unlike any singer I have ever seen before. The rest of the cast are vocally sublime too; Stuart Skelton as the title role shows real compassion and stamina throughout the five hour piece and Jane Dutton as Kundry is dramatic and convincing. I adored the flower chorus dancing and singing, the women dressed in unbelievable draped costumes and lit so wonderfully, it was quite mesmerising to watch.

No-one can deny the beauty of Wagner’s music in Parsifal. In particular I love the opening interlude and the euphoric finale. The orchestra are quite breathtaking, and are conducted magnificently by Mark Wigglesworth, who energises the score and injects the performance with real understanding and passion. In my seat in the front row of the dress circle I felt I was soaring with the music and being drawn into Wagner’s mysterious world. I found the whole evening uttering compelling and was completely engrossed by the amazing atmosphere the ENO created for the occasion.

Parsifal continues at The ENO until Saturday 12 March, book here.

Lucrezia Borgia at The ENO

Lucrezia Borgia is rarely performed in its entirety, so it was exciting when The ENO announced they would be staging Donizetti’s strange opera. I had no idea what to expect from the piece, though previously received a less than complimentary review from a friend who attended the dress rehearsal, so I rather lowered my expectations.

The work, first performed in 1833, revolves around an oedipal relationship between a mother and son. Lucrezia’s estranged son returns but is unaware of his mother’s identity, and begins to fall for her and is flattered by the attention she shows him. Concealing her real identity until the final moments of the opera, the consequences of her vile pretence cause havoc.

This is, in some ways a beautifully traditional production. The set is dark and minimalist but with grand gilded elements that hark back to the Renaissance. Contrasting with this are four filmic interruptions. They are unexpected and definitely out of place in this opera house, but are gripping and beautiful and provide a helpful and histrionic back story about the Borgia family. The pieces of film are arguably the best thing about this production. Director, Mike Figgis is new to opera but shows his talent for film-making with these mysteriously alluring clips, shown on a huge screen.

I think the singing is exceptional from all the cast. Claire Rutter as Lucrezia and Michael Fabiano as her son Gennaro are breathtaking. The music is often very tricky and their efforts are commendable, they sing with real conviction and devotion. Rutter maintains her venomous character throughout, singing out the complex coloratura part with a gorgeous tone and immense power, her voice filled the giant auditorium. Elizabeth DeShong is completely charming as Gennaro’s friend Orsini, with long golden hair and clearly a girl, though dressed and referred to as male, her sex is confusingly ambiguous.

The chorus seems a little disorientated, wandering about the stage, seemingly without purpose. Perhaps this is not helped by conductor Paul Daniel who is better during the solo moments on stage, and seems a little weak to lead the ensemble numbers. Although I found this production puzzling, and at times a little static, the music is of the highest standard and is a pleasure to listen to.

This is a rare chance to see Donizetti’s melodrama; Lucrezia Borgia runs only until 3 March 2011, book here.

The Nutcracker at The Coliseum

Everyone has something that makes them feel specially festive around this time of year. Maybe it’s the Christmas lights going up around London, or your first mince pie, for me it is the English National Ballet’s production of The Nutcracker. Every year The Coliseum hosts this wonderfully Christmassy show, and this year is their best production yet.

My first experience of Tchaikovsky’s Nutcracker was at the age of 12, when I performed in the chorus with my choir. We stood in the massive orchestra pit to sing the short snowflake chorus part, which comes just before the interval. I sung in the ENO Nutcracker for the next three or four years, a magical experience; it always felt like the start of the Christmas season for me. When the production changed and they no longer needed children singing live, I was sadly out of a job, so I went to see the ballet instead. This has been a tradition ever since.

Now, at the age of 22 I thought I knew what to expect, but this year was honestly more sublime than all the other productions that have come before it. The show celebrates 60 years of The English National Ballet in true style and splendour. This year the ENO welcomes a new production, a World Premiere - the creative team must be congratulated on their vision, which is perfectly realised on the great Coliseum stage. Wayne Eagling’s choreography is meticulous but measured and shows the dancers to be confident and daring. The players are as stunning as ever, but this year, with a new lease of life from a fresh production, they seem renewed. Even the youngest dancers stand out as having exceptional talent, tip-toeing their tiny feet across the massive stage. I was delighted to find that the production is, once again, using live singing for the snowflake chorus... twenty or so kids stand tall in the box closest to the stage singing their hearts out.

Peter Farmer has created a magical design for the story that plays with the central themes of fantasy and fun without the vulgarity of Gerald Scarfe’s previous production. Last year The Nutcracker had a cartoon feel, this is replaced by Farmer with an image of Victorian elegance, and an air of romantic nostalgia. I am so glad that this classic has been returned to its rightful character, attempts to modernise it damage the magic of the show.

The Nutcracker is on until Thursday 30 December, with Matinee and evening performances on most nights, book tickets here.

A Dog's Heart at The ENO

The ENO are shaking things up this season with the UK Premiere of the shocking A Dog’s Heart by Alexander Raskatov based on Mikhail Bulgakov’s novel. The composer, worked with director Simon McBurney and Complicite from the start, so music, text and action are all inextricably linked. The outcome of this is a piece of art that overwhelms the senses.

The opera is unconventional, and several have contested whether in fact it can even be categorised as such. The music is discordant and lacks the richness of harmony, but the tricky sporadic melodies are tackled well by the cast, in particular the female singers whose voices seamlessly leap from end to end of the pitch spectrum. Nancy Allen Lundy sparkles as Zina the maid, hitting amazingly crisp top notes, and rampaging round the stage as the mad girl. Peter Hoare is brilliantly hideous as the monster of a man, Sharikov. He has a snarling power and sings the grossly worded songs with no shame, I must especially give him credit for proudly baring all on the Colliseum stage and screaming to the audience, ‘Suck my Cock’ just before the interval. It certainly gave us lots to giggle about at half time!

The story revolves around a grotesque operation that turns an ill-treated dog into a man, with horrendous consequences. It possesses a narrative that offended the Soviet authorities so much that they banned it for 60 years. And after seeing the opera I am not surprised it disturbed them. It is the mastery of the Blind Summit Theatre group that is to thank for the beautiful puppetry that recreates the hound, Sharik. Other small animal puppets are also featured. I love the scene towards the end when the poor cat is chased all over the place by the transformed Sharikov.

I was most struck by the beautiful use of film, sometimes as a backdrop, or often as an integral part of the scene. The opening scene takes place between two pieces of gauze onto which is projected falling snow. The fantastic projections are by Finn Ross and depict 1920s Moscow with a gritty realism. Set designs by Michael Levine and costumes by Christina Cunningham also help the scenes come alive.

A visually superb production of a bizarre opera, book here. Continues until 4 December 2010.

Don Giovanni at The ENO

This production of Don Giovanni has a modern urban feel, and is eerily creepy. The interpretation of Mozart’s famous opera is much darker than other shows I have seen recently at the ENO. We are warned before entering that we will experience strobe lights, a strange sensation when sitting in a big opera house. Besides the visual effects, atmospheric breath noises are used and throughout the performance masked demons sneak and run about on stage, an appropriate production for Halloween.

Kirill Karabits is an energetic conductor and he seems to empower the orchestra which is in fact a lot smaller than it sounds. Unfortunately I found the orchestra’s rendition of the overture a bit lacklustre and boring, which didn’t set the scene particularly well. The cast is made up of familiar names, with Iain Paterson in the lead role, bellowing maliciously as the callous Don Giovanni. His only fault is not being quite charismatic enough for this lecherous role. Brindley Sherratt is the most convincing actor on stage as the greasy sidekick, Leporello. He is surprisingly hilarious as well vocally brilliant. I particularly enjoyed Leporello’s catalogue aria that director Rufus Norris re-imagines as a doctor’s statistical presentation, clever timing provides the audience with many laughs. I must also mention the witty translation of Jeremy Sams, that brings some entertainment to an otherwise rather dreary night.

I found Norris’s overall production idea bewilderingly strange. I was confused about where the action is in fact set, at the start it resembles the skate track on the Embankment, and later in the performance is more like an underground drinking dive. The vile Jesus t-shirt costumes worn by the rampaging demons are also very bizarre, and muddle the already complex storyline.

All in all I found this to be a disappointing setting for Mozart’s great opera, and with the late start I was relieved to be leaving at 11 o’clock.

Don Giovanni continues at The Colliseum until 3 December 2010, book tickets here.

Puccini's La Boheme at The ENO

ENO always has a diverse programme. This season they are offering up some real classics that I’m sure will be popular with the public: Handel’s Radamisto, Mozart’s Don Giovanni and of course Puccini’s La Boheme. Unlike some operas La Boheme is not difficult to follow, and the narrative moves slowly through the powerful melodies, avoiding the unbelievable twists and turns of some opera plots. Above all it is a great love story, and more prosaically a study of some young bohemians and the mischief they get up to.

I fell in love with Puccini when I first performed Tosca with Opera Holland Park, ever since I can’t help but be deeply affected by the overpoweringly passionate music. My academic experience of Puccini can sometimes lead me to be overcritical of productions I see. This time round ENO push all the right buttons for me, it is a truly enchanting production on all counts.

This is the first revival of Jonathan Miller’s production, following its initial successful run. Thanks to designer Isabella Bywater this adaptation adds something special to Puccini’s classic. The atmosphere is transporting, Miller decided to set the opera in 1930s Paris, the era after the depression, and Bywater’s vision matches the directors sentiment entirely. The evolving set made me feel so close to the great French city, and the magical mist and falling snow in the second half made me shiver. My favourite part of the set has to be the intricately decorated Cafe Momus that radiates from the centre of the stage, and is complete to the tiniest detail. I later found out the set and costumes are based on images of Paris from about 1932 by the famous Hungarian photographer, sculptor and filmmaker Brassaï.

The singers are all brilliant, but tenor Gwyn Hughes Jones is particularly spectacular as Rodolfo. (The part is split between Gwyn Hughes Jones and Alfie Boe). He commands the stage, and engulfs the tiny Mimi (Elisabeth Llewellyn) with an endearing natural charm. His voice is sensitive and yet grand and the massive ENO theatre buzzed with his presence. This is Llewellyn’s ENO debut, and I thought she did jolly well, she sings with a natural sincerity that suits the character well, her obvious excitement was very noticeable in her quite touching bow at the end of the curtain call. The rest of the cast are good too, and it is difficult to find any fault. I loved the raucous children running across the stage, all peering in to the Cafe while the bohemians are inside singing. I do prefer my La Boheme in Italian, but thought that Amanda Holden’s translation was rather comically and enjoyable.

Puccini’s music is so brilliant it doesn’t take much to make one of his operas into a good production, but this has something a little bit extra. ENO got it just right.

La Boheme continues at the ENO until 27 November 2010, book tickets here.

Gounod's FAUST at The ENO

The opera to see this month, in my opinion, is Faust, Gounod’s five act epic. Marking the start of ENO’s exciting new season this production is directed by award-winning director Des McAnuff, and conducted by the charismatic Edward Gardner. The opera is based loosely on Goethe’s Faust, Part I with a libretto by Jules Barbier and Michel Carre and is an entirely new production for the English National Opera.

With a running time just over three hours and with two intervals, you definitely get your money’s worth. This is a show that will appeal to both opera fanatics and those less confident with the form. The music is dramatic and the lyrical tunes will grab your attention, furthermore the narrative is unusually easy to follow! It is rare that I particularly notice an orchestra during an operatic performance, but in this case I did. They play with great vigour and energy, perhaps thanks to Gardner’s diverse experience conducting both West End bands and large operatic orchestras.

I cannot fault the singing either, Toby Spence leads the cast as the scientist Faust, a tiring tenor role that requires real talent; several of his arias were breathtakingly beautiful. There are only a few more soloists, I think Anna Grevelius as feeble Siebel and Iain Paterson as demonic Mephistopheles stand out. The set is perhaps a little nonsensical, but I found it easy to overlook this as the other effects on stage are of wonderful. Throughout the performance a giant projection of Marguerite’s face is shown, reminding us constantly of Faust’s leading lady and of the important love story that holds the narrative together. This face is particularly unnerving when it occasionally moves or blinks at you.

This ENO season also introduces a series of pre-performance talks called Join The Conversation: Live! They are hosted by the epic new Apple Store in Covent Garden, taking place on the opening night of each of the Autumn 2010 productions at 5pm. Curated and introduced by broadcaster and journalist Christopher Cook, these events will raise topics surrounding each production with a panel of experts from different operatic fields.

Faust continues until October 16, 2010.

Idomeneo at the ENO

The ENO boldly present Idomeneo this month at Covent Garden. Idomeneo is the young Mozart’s classical drama.

This production is directed by the award-winning Katie Mitchell. It is presented in modern day dress, an interesting concept but one that occasionally overpowers the drama. I definitely miss the grandeur of the antique costumes you might expect in a Mozart opera. The staging is immense, with an almost constant rippling sea as the backdrop. The theme of water is central to the drama and you are reminded often of its importance.

Performances are impressive from the four leads. British tenor, Paul Nilon leads the company as the great Idomeneo. Nilon’s performance is staggering, he sings every virtuosic aria with ease and perfection, making the most of Mozart’s lyrical writing. Robert Murray is less convincing as the son Idamante, although sings well throughout. The two women, Emma Bell as the tormented Electra and Sarah Tynan as Princess Ilia have a wonderful dynamic on stage. Bell is ravishingly fiery and Tynan melancholic and gentle. Adam Green sings the role of Arbace with great gusto.

Idomeneo is rarely staged, perhaps because of its length. Hopefully after this run at the ENO it will make it to our London stages more often.

Idomeneo continues until 9 July, book tickets here.

Puccini's Tosca at the ENO

The Original Poster for Tosca

The opera Tosca is, above all, an epic love story. Every year you are sure to find Puccini's masterpiece on somewhere, this summer it is being performed at the ENO.

My first encounter with the opera was at the age of 15 when I was given the part of Shepherd Boy (in my case they made it into Shepherd Girl) at Holland Park Opera. The power of the music blew me away, ever since it has been my favourite opera. This time around the music moved me close to tears.

The ENO's production is stunning. The three central protagonists: Tosca, Scarpia and Cavaradossi are all played by singers that seem fully engrossed in their roles; this makes the audience's job to watch and believe very easy. South African singer Amanda Echalaz makes a pretty Floria Tosca, her voice is unfaltering, but it is her acting which particularly impressed me. She is entirely convincing throughout and has genuine chemistry with her leading man. Tosca's suicide which concludes the opera is spectacular with Amanda falling backwards off the rear of the stage with shocking grace.

Julian Gavin who plays Mario Cavaradossi has a wonderfully creamy tenor voice, a pure delight to listen to. It is a difficult role to sing, but he easily hits the notes and manages to fill the entire theatre. The baddie, Baron Scarpia must be a fun part to play, in this production Antony Michaels-Moore takes it on with gleeful terror. Such a nasty character that the audience even booed when he came on to bow.

The set had a Neo-Classical feel that worked well with the production as a whole. Cavaradossi's painting in the first act is an important feature, and it is a shame that it is shown as a strange mosaic type picture, but apart from that the set is appropriate.

Conductor, Edward Gardner does a sterling job with the orchestra, although the music needs little help to sound beautiful. Puccini himself commented, 'Only with emotion can one achieve a triumph that endures' and this is entirely true of Tosca, which I believe has some of the most passionate, overpoweringly emotional music of all time.

Any well known opera is open to great criticism, but I have seen four productions of Tosca in my lifetime, and this is hands down the best. It is on until the 10th July, I promise you won't be disappointed, this is a show not to miss.

Book tickets HERE.