Review: A Haunting Triumph: ENO’s Suor Angelica Delivers Raw Emotion and Stark Beauty

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.

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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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