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ENO La traviata Review – 28 October 2023 by Maxine Morse

The ENO’s La traviata has the feel of a Parisian 1920’s nightclub, enveloped in blacks and reds, with a cast in tuxedos and bob haircuts. The pared down staging puts the focus firmly on stand-out vocals, intense dramatic sequences and beautifully controlled conducting.

We are invited on a two-hour rollercoaster, taking a stomach-churning lurch to the highs of Violetta’s parties, where her inebriated frenemies are willing her downfall.  Then there is a slow dip into her life in the country while she pursues true love before our carriage goes through a dark tunnel when she rejects her lover before we reach a slithering halt in her failing health and death.

If you are accustomed to the many fin de siècle productions of La Traviata, with their stately homes and tulle ballgowns, you may find Johannes Leiacker’s set a challenge. Almost devoid of props and scenery, layers of red velvet curtains are tugged, drawn and pulled to create the various scene changes.

The delicious period feel is largely down to the chorus direction with its joyful goading and clenching of wine glasses at the party to the casino where the chorus purposefully stride across the stage and toss playing cards – minimalist but immensely effective.

The revival director, Ruth Knight gets to the heart of Verdi’s preoccupation with realism in her characterisation of the principal part. Violetta is not the archetypical fallen woman but an embodiment of mystique, power and angst brought down by her relationships with inferior, impotent men and seen through the narrow prism of societal constraints.

Nicole Chevalier brings strength to the role of Violetta with her glorious tsunami of raw emotions. By her final aria Addio del passato (‘It’s over, all those memories full of laughter’) she has lost her wig and her soulful lament is one that will haunt the audience long after the opera is over.

The antithesis of Violetta is her lover, Alfredo Germont (Jose Simerilla Romero). This beige-cardiganed, socially-awkward bookworm conveys all the personality of damp cardboard. Romero rises perfectly to this challenge by first seducing us with his febrile veneration of love and then blasting us with forceful vocals as he blames Violetta for shaming him.

Completing this dark triad is Alfredo Germont’s father. Giorgio Germont performed by Roland Wood is convincing in his display of oily, bourgeois respectability as he coaxes and cajoles Violetta to leave his son in order to protect the family’s reputation.

In the final scene, the supporting performers enter from the rear of the stalls and approach the stage to look on Violetta’s demise as if from the audience perspective – each one exuding a powerful  and almost frozen  presence.

Verdi’s score sparkles under the baton of Richard Farnes from the energy of brindisi with its insistent rhythms to the slower and perfectly controlled movements of the final death scene.

The director’s decision to forego an interval has the effect of asking the audience to drink a triple shot of absinthe…performing La traviata without a pause adds not only to the psychological intensity but also to the audience’s physiological discomfort. And when it ended no one leapt for the doors; instead, thundering applause and foot stamping brought the house down.

Maxine Morse

Maxine trained as an opera critic on ENO Response the opera critics training scheme sponsored by the English National Opera and mentored by Critics’ Circle. She is currently taking live performance reviewing courses at the City Lit and Harvard University.

Please get in touch if you would like her to review opera for your publication.

UNITED KINGDOM, LONDON
La traviata at the English National Opera.
Nicole Chevalier as Violetta, Jose Simerilla Romero as Alfredo and Roland Wood as Giorgio Germont in the Peter Konwitschny production of Verdi’s La traviata continuing the 2023 to 2024 season of the English National Opera at the London Colosseum. The opening night for ENO’s La traviata is on the 23 October with performances up until the 12th November.

ENO Iolanthe Review – 10 October 2023 by Maxine Morse

If ENO’s Iolanthe were a cake it would be a Unicorn cake with a deep buttercream icing and liberally covered with edible glitter and hundreds and thousands with a surprising layer of tongue tingling popping candy.

The director Cal McCrystal’s hallmarks are retro spectacle and masterly comic timing with splashes of whimsy and political satire. When combined with the unique talents of conductor Chris Hopkins, who takes a precision aim at delivering musical oomph, and Paul Brown, the Dior of costume and set design, the overall effect is nothing but a full-on sugar rush.

I am not a big fan of Gilbert and Sullivan’s prologues but Clive Mantle as Captain Shaw fluffed the audience with a good poking of fun at the opera going classes and a portent of fire-fighting silliness.

The late Paul Brown’s set resembles a 1950’s children’s book with its die cut wing and backdrops. The opera’s pièce de resistance is a life size steam locomotive which bursts through as if straight out of the comic golden age, unloading its cargo of crown and gown clad peers. Such was the stunning effect that I was sitting next to a world-weary television personality who broke the Coliseum’s strict ‘no photography’ rule and whipped his phone out to take a sneaky snap. Do not try this yourself!

Iolanthe has been banished from the fairy world for getting married to a mortal. Her son, a lowly Arcadian shepherd, falls in love with the equally vacuous, toile costumed Arcadian shepherdess, Phyllis. As ward of the chancery, she needs the permission of the Lord Chancellor to wed. Unfortunately, every dull, titled, money and status obsessed peer of the realm, including her guardian, is keen to wed her. Will she be allowed to marry her heart’s desire, or is she condemned to wed one of her less suited suitors? And what about those cute fairies who are besotted with those same dullards? Will they be allowed to live a life of wedded bliss or be condemned to death? We shall see…

Strephon (Marcus Farnsworth) the Arcadian shepherd has a touch of David Walliams about him, slightly obtuse and ditzy, a personality twin to the all-too-perfect Phyllis (Ellie Laugharne). Both carry the audience with their charming comical antics and deliberations.

John Savournin as the Lord Chancellor is a Gilbert and Sullivan stalwart. He excelled as Captain Corcoran in the ENO’s 2021/22 HMS Pinafore and is hot off the Opera Holland Park stage as Ruddigore’s Sir Despard Murgatroyd. Savournin, a confident performer with a conversational singing style, made a fast paced word salad of his tongue twisting Chancellor’s Nightmare.

Ruairi Bowen  as Earl Tolloller is a delight to watch as he delivers the crispest vocals of the night with masterly Victorian mannerisms.

The off libretto popping candy involved pooping horses, sheep ferried about by stage hands blinded by their camouflage and a shaggy-haired, partying Boris accompanied by a permanently surprised and gormless Michael Gove. A pot shot is taken at Nadine Dorries, who is responsible for the ENO’s current funding crisis, as she hilariously tries to break back in to the Houses of Parliament. And we loved the analogy of the Lord Chancellor having a terrifying nightmare that he had to move the Palace of Westminster to the frozen north as part of the government’s levelling up agenda. Perfect!

Did the Lord Chancellor’s page make it out of the performance physically unscathed?  He is bounced from place to place – falling, being clobbered and then dropped from a great height.  Give the marvellous Adam Bown his own one-man comedy show.

Please check out our other reviews and if you are new to opera you may find these tips useful for your first visit.

The ENO’s Iolanthe fairy world is a colourful pot pourri. Each fairy costume has been painstakingly designed to match the fairy’s unique personality – be that sexy and sultry, rotund and matronly or fun and impish. And the fairies stole our hearts. Petra Massey’s zip wire punching aerial antics have the charm of a Renaissance cherub. Bethan Langford as Leila exudes demure dimple-poking sweetness. The metal-clad, Wagneresque Queen of the Fairies, Catherine Wyn-Rogers, electrifies with a powerful performance embodying matriarchal warmth and strength. Samantha Price as Iolanthe brings her distinctive mezzo soprano and balletic moves to the titular role.

All in all, Iolanthe is a splendid frothy confection that will be voraciously devoured by both adults and children alike.

Maxine Morse

Maxine trained as an opera critic on ENO Response the opera critics training scheme sponsored by the English National Opera and mentored by Critics’ Circle. She is currently taking live performance reviewing courses at the City Lit and Harvard University.

Please get in touch if you would like her to review opera for your publication.

UNITED KINGDOM, LONDON
Iolanthe at the English National Opera.
Samantha Price as Iolanthe and John Savournin as the Lord Chancellor in  Iolanthe in the  Cal McCrystal production of Gilbert and Sullivan’s operetta Iolanthe continuing the 2023 to 2024 season of the English National Opera at the London Colosseum. The opening night for ENO Iolanthe is on the 5 of October  and then 12 performances up until the 25th of October.

The ENO’s Peter Grimes is not going to be a cosy night at the opera. You can see that in the sparse cantilevered set – dark and gloomy. This will be harrowing viewing.

In a small gossipy fishing village on the English East Coast we find the brow-beaten Peter Grimes (Gwyn Hughes Jones) standing trial for the death of his apprentice. Grimes protests it was an unfortunate accident and Swallow (Clive Bayley), the prosecuting lawyer, forcefully disputes his account much to the delight of the baying crowd. Reluctantly acquitted, Grimes is clearly guilty in the court of public opinion.

Peter Grimes, the impoverished fisherman, is the Borough’s scapegoat. Neither likeable or dislikeable, he melds into his grimy and grey surroundings. But he has dreams. Conventional, keeping up with the Joneses dreams, of a wife, a house, a happy life and money. This will buy him status and an escape from exclusion.

Unable to work alone or pay for adult labour, he must fly in the face of Swallow’s advice by finding another apprentice to repair nets and help haul fish.

Ellen Orford (Elizabeth Llewellyn) longs to marry Grimes. He is not a catch but probably the best that a lonely widow can do. She convinces the Borough that she will nurture and safeguard any child procured for Grimes from the workhouse.

Grimes has spied a shoal of fish.  But a deadly storm is brewing. Grimes sees his chance as no other fishermen will be brave enough to net it. The boy is tired and terrified.

We can see this is not going to end well…

Elizabeth Llewellyn starts out scratchy and screechy, singing in the upper range of her register, mirroring her inner desperation. Her voice mellows into a powerful angst-ridden performance that propels us into her inner world of hopes and dreams that are constantly dashed like waves crashing on the shoreline.

Peter Grimes’s apprentice, Rudy Williams, with his animalistic hiding behaviours and mute writhing, perfectly conveys the sheer fright of being apprenticed to a potential murderer.

Set against the theme of social alienation is a Dickensian exploration into small town bigoted bloody mindedness. The hypocrisy of the village is laid bare.  The apothecary Ned Keene (Alex Otterburne) is not above supplying laudanum to the elderly Mrs Sedley (Anne-Marie Owens), a sleuthing Miss Marple who in turn, gleefully spreads unfounded gossip about Grimes in her drug fuelled haze.

Two pre-pubescent nieces (Cleo Lee-McGowan and Ava Dodd) who hopscotch dance and carry their dolls are sexual fodder for the sleazy fisherman and Methodist preacher Bob Boles (John Findon).

Their Auntie, a pub landlord (Christine Rice) prowls round the stage in her fur coat and walking stick. Rice’s forceful vocals make her the embodiment of female power in this male centric society.  She is after all the purveyor of sex and alcohol.

The chorus scenes shine bright. Mob rule at its best. The movement director, Maxine Braham, does a fine job of creating spectacle after spectacle…the crowd clench fists, clasp hands and punch the air…or dance a surreal country jig reinforcing the notion that this tightly knit community will be seeking their next victim when they have dispensed with Grimes.

Director David Alden creates a thrilling psychological spectacle. On occasions, he takes things too far. Would even the most despicable drunk sexually intimidate an elderly woman?

Please check out our other reviews and if you are new to opera you may find these tips useful for your fist visit.

It is rare to find an opera where the lighting plays such a pivotal role in evoking a menacing atmosphere. Lighting revival designer, Gary James, takes us from bleak seashore to dim workhouse, to cosy pub, to evening street party and then to Grimes’s solo dramatic soliloquy with its strong, almost incandescent, light and black shadows.

Gwyn Hughes Jones role is challenging. It calls for a socially inept man who yearns to rise to life’s challenges but is held back by lack of self belief. Hughes Jones slips into this role with apparent ease, neither singing too forcefully or too timidly. His voice convincingly conveys the twists and turns of his enigmatic situation.

Martyn Brabbins is a master of orchestral control.  He sweeps the audience up in the stormy, frothing sea, harbour bustle, misery and hopelessness. The orchestra came on stage for much-deserved applause during the curtain call. Their performance was the tour de force of the night.

We prayed hard and fervently for Grimes to reappear with his workhouse apprentice…simply a misunderstanding. Or for him to heed Ellen Orford’s plea to “Come home out of this dreadful night”.  Engulfed by his feelings of unworthiness and hopelessness, he is swayed by the devilish suggestion from Captain Balstrode (Simon Bailey) to take his boat out far from shore and sink it.

Who will be the Borough’s next victim?

Maxine Morse

Maxine trained as an opera critic on ENO Response the opera critics training scheme sponsored by the English National Opera and mentored by Critics’ Circle. She is currently taking live performance reviewing courses at the City Lit and Harvard University.

Please get in touch if you would like her to review opera for your publication.

UNITED KINGDOM, LONDON, 18th September 2023
ENO Peter Grimes at the English National Opera.
Gwen Hughes Jones as Peter Grimes in the David Alden production of Benjamin Britten’s opera Peter Grimes opening the 2023 to 2024 season of the English National Opera at the Colosseum. The opening night is on the 21st of September and then 8 performances up until the 11th of October.