Month: October 2024

The English National Opera’s The Turn of the Screw, is an atmospheric and chilling rendition of Benjamin Britten’s psychological thriller. This production, newly interpreted and staged by Isabella Bywater for the 2024/2025 season delivers a gripping exploration of innocence, repression, and the supernatural, while allowing the opera’s themes of ambiguity and fear to unfold with a slow-burning intensity.

Britten’s haunting score, conducted by Duncan Ward, is brought to life with precision and clarity. The orchestra masterfully balances the eerie, sparse instrumentation with lush, romantic undercurrents, reflecting the growing tension and unease in the narrative. Ward’s pacing is deliberate, allowing the unease to creep through every bar without losing the momentum of the story’s chilling trajectory.

The unnamed governess in a frumpy pink frock and fluffy slippers is incarcerated in a 1960’s mental asylum and is recalling her experiences of 30 years previously when she took charge of two very disturbed orphaned children at a gothic mansion. Were the children sexually abused, were they haunted by ghosts or has the governess herself “lost the plot”? You, the audience, are left to decide.

The set design plays a pivotal role in establishing the opera’s unsettling mood. It has all the magical Bywater elements of walls which stretch and contract emphasising the lack of certainty and make the audience feel that they too are descending into madness. The imposing, structure of Bly House with its extensive parkland is projected onto the stage, creating a claustrophobic, haunted atmosphere. Its towering, flickering and shadowy presence mirrors the psychological landscape of the characters, particularly the Governess, whose gradual unravelling is visually underscored by the play of light and shadow. Bywater’s minimalist yet evocative design, complemented by Paul Anderson’s haunting lighting, and Jon Driscoll’s video projections lend a Hitchcockian quality to the production.

If you are new to opera you may enjoy our blog post on opera tips.

At the heart of the opera is a stellar performance by Ailish Tynan as the Governess. Tynan’s portrayal is a masterclass in vocal control and emotional depth. She captures the character’s initial innocence and idealism, but as the events at Bly House spiral into the inexplicable, her performance becomes increasingly unhinged, reflecting the fragility of the Governess’ mental state. Tynan’s voice is clear and lyrical, yet it carries a distinctly strained edge as she sings in the upper range of her register which perfectly suits the opera’s dark undertones.

Countering her is the ghostly figure of Peter Quint, sung by tenor Robert Murray. Murray’s Quint is both seductive and menacing, embodying the ambiguity of evil that Britten so masterfully weaves into the score. His duets with the Governess, particularly in the second act, bristle with tension, their voices intertwining in a way that blurs the line between reality and the supernatural.

The two child singers, who perform as Miles and Flora, deserve special mention. Miles, portrayed by Nicolai Flutter, impresses with his clear, angelic voice and unsettling maturity. The innocence of his character is constantly questioned, and Flutter navigates this duality with a subtlety that belies his age. Holly Hyton’s Flora is equally commendable, her bright tone lending an ethereal quality to the child’s increasingly disturbing behaviour as the pair dress as a nun and priest, chant gobbledegook in their lessons and play with dolls.

However, the opera’s true strength lies in its psychological complexity and ambiguity. Bywater’s direction highlights the thin line between the supernatural and psychological breakdown, refusing to give easy answers about whether the ghosts are real or manifestations of the Governess’ disturbed mind. This ambiguity is heightened by the tension between the lush, melodic passages and the dissonant, jarring moments in Britten’s score.

In this production, the tension is palpable, the atmosphere oppressive, and the performances nuanced. It’s an opera that lingers long after the final notes have faded, as unsettling and unresolved as the narrative itself. The Turn of the Screw at the ENO is a compelling and thought-provoking experience, a masterful blending of music, drama, and atmosphere that will leave audiences questioning the nature of innocence, evil, and the fine line between the two.

The ENO’s Turn of the Screw opens on Friday 11 October for 7 performances Oct 11, 16, 23, 29,31 at 19.00. Oct 13 at 14.30. Oct 26 at 18.00.

Opera tickets for ENO Turn of the Screw can be purchased here.

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.

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The English National Opera’s latest production of Suor Angelica, staged at the London Coliseum, is an evocative and emotionally charged portrayal of Puccini’s short but powerful opera. Directed by the ever-innovative Annilese Miskimmon, this staging of the 1918 work delves deeply into themes of religious barbarism, repentance, maternal love, and redemption, with a striking simplicity that enhances the intensity of the narrative.

Yannis Thavoris’s minimalist approach to the set design works in the production’s favour, stripping away distractions and placing the emotional core of the story at the forefront. Set in one of the controversial Magdalene Laundries, bedecked with drying sheets and primitive washing implements, he portrays an austere realism in an abstract manner using clean lines and muted tones. This choice underscores the emotional prison of Suor Angelica, allowing her internal anguish to take centre stage, as the audience is forced to focus on her emotional journey rather than on external details.

Sinead Campbell-Wallace’s performance as Suor Angelica is simply spellbinding. Campbell-Wallace’s rich, emotive soprano voice captures the torment and longing of the character with heartrending clarity. Her rendition of “Senza Mamma” was the evening’s high point, delivered with such raw vulnerability that it left the audience transfixed. The pain of a mother mourning the child she was forced to abandon was palpable, and Campbell-Wallace’s portrayal was both deeply human and transcendent.

The supporting cast was equally impressive. Christine Rice as the Princess brought an icy severity to her role, providing the perfect contrast to Suor Angelica’s warmth and desperation. Rice’s voice, smooth and commanding, mirrored her character’s cold indifference, creating a chilling scene in which the emotional cruelty of her visit is laid bare.

The orchestra, under the expert baton of Corinna Niemeyer, gave a nuanced and sensitive performance of Puccini’s score. The music swelled and receded with the emotional tides of the story, supporting the singers without overwhelming them. Niemeyer masterfully navigated the transitions between the stark convent scenes and the operatic tragedy, bringing out the pathos in Puccini’s lush orchestration.

If you are new to opera you may enjoy our blog post on opera tips.

The chorus of nuns provided a sombre backdrop, their voices weaving together to create an almost ethereal soundscape. Miskimmon’s direction ensures that each member of the chorus remains an integral part of the drama, contributing to the oppressive atmosphere that surrounds Suor Angelica. Their androgynous, make-up-less and braless presence feels omnipresent yet distant, reinforcing the isolation that defines the protagonist’s life in the convent.

While the production thrives on its emotional depth, there were moments where the starkness of the staging felt almost too bare. The absence of traditional visual cues—such as the grandeur of the church or the convent garden—may not resonate with all audiences, particularly those more familiar with traditional interpretations of Puccini’s works. Nevertheless, this approach allows for a greater focus on the psychological aspects of the story, a trade-off that ultimately benefits the production. I also wondered how audience members would interpret the crawling child in the grand suicide finale – an apparition of a distraught, dying woman or a Romeo and Juliet moment when the child is found to be alive, as his mother dies?

In summary, ENO’s Suor Angelica is a moving exploration of grief, guilt, and spiritual salvation. Miskimmon’s vision, combined with Campbell-Wallace’s powerhouse performance and Niemeyer’ sensitive musical direction, make this production a compelling and unforgettable experience. While the stark staging may divide opinion, it undoubtedly draws attention to the emotional intensity of the opera, making it a triumph for the ENO.

Suor Angelica ran for 2 performances on Friday 27 September 2024.

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.

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