Opera Down The Pub – Review: Kings Head Theatre – La Bohème

Every night until 8^th October something fantastic is happening in the small theatre at the back of The Kings Head pub in Islington – Puccini’s La Bohème is being performed by a talented and switched-on cast who are bringing this enormous work to a new kind of audience on a totally new set of terms.

The intimacy of the Kings Head Theatre itself gives this production its particular intrigue, and indeed it has been developed and adapted by a resident creative team in conversation with the space. The libretto[1] has been radically but brilliantly reworked, stripping the cast back to the four key characters, Mimi and Ralph (i.e. Rodolfo in the original) and Mark (Marcello) and Musetta. This sharpens the focus on the ups and downs of these two toxic and intense relationships, involving the audience in their joys and conflicts with almost uncomfortable immediacy – for some gentlemen on the front row, quite literally!

The adapted storyline translates Puccini’s consumptive and delicate Mimi into a heroin addict whose initially casual habits lead to the fracturing of an otherwise loving relationship with Ralph and her dramatic and desperately undignified demise. This is the most central and focused of several comments on contemporary social issues, alongside pointed references to city pollution, London’s spiralling rents and ambivalent uses of social media. Usually such alterations personally make me squirm, but this version by King’s Head Artistic Director Adam Spreadbury-Maher and Becca Marriott, who plays Mimi in one of the two casts, makes for creasingly funny moments throughout the first half. In addition to the surface humour, which does occasionally border on the excessively silly, there are some excellent inward-facing tongue-in-cheek moments for those who know the original and the musical style of Puccini himself. The second half, which abandons the punning and swearing to go for the meat of the tragic storyline, is especially powerful.

The quality of the singing and musicianship is at the highest standard. Becca Marriott (Mimi) and Thomas Humphreys (Mark) particularly shone vocally – I’ll be watching their futures with interest. Meanwhile Matthew Kimble’s presentation of Ralph’s first act aria, equivalent to the iconic Che Gelida Manina (What cold hands!) was a moving emotional highlight. Although the diction is clear from all the cast members throughout I recommend purchasing a £3 programme to assist following the moments where, in duets and trios, characters sing simultaneously with different texts. I would advise, however, trying not to read ahead from what is being sung – I find it takes the edge of the humour or poignancy if you know what’s coming.

To be so physically close to music at this level is thrilling in itself[2]. At this range the soaring voices literally resound through your body and listening becomes a more entire experience. Every minute detail of the actors’ faces is clear to everybody. The reduction of the La Bohème score to piano and cello was effective and didn’t feel lacking in the context of this production.

The King’s Head Theatre production of La Bohème is an excellent introduction to opera for those who have yet to experience it, and an exciting development in the shape and character of the craft. Madame Butterfly is coming up in the new year and previous productions at this location including Pagliacci, The Barber of Seville and The Elixir of Love, staged during the residency of the company OperaUpClose. The theatre at Kings Head is reliant on making £100 000 in addition to ticket sales annually, so if you would like the opportunity to go see a production in this style don’t dither about buying a ticket. At a running time of 1h 55min including interval this production is a perfect evening out, even on a weeknight. La Bohème at The King’s Head will challenge your perceptions of what Opera can and should be, whilst keeping you feeling alive through the strong presentation of Puccini’s masterful music.

 

[1] Text of the Opera, the ‘lyrics’ if you will.

[2] The proximity reminded me of the exhilarating experience of Multi-Story Orchestra in Peckham, where you’re so close to the orchestra at the front that the Violin bows poking your eyes out is a genuine risk. Do explore this exceptional project and annual music festival for similar experiences to the ones described at The Kings Head.

A Note on the Last Night of the Proms 2016

 

Two years ago I wrote an article about the disjuncture between the iconic Last Night of the Proms and the fantastic series of concerts that precedes it. By sheer chance ( a friend asking about returns an hour after some new seats had been released ) I got hold of tickets for the Last Night of the Proms this year, and attended relishing the chance to test my points from 2014.

In my original article I made two broad points. Firstly that The Last Night of the Proms was so unlike the rest of the Proms series in terms of content, [in]accessibility and structure that ‘The Last Night’ is as good as a misnomer. Secondly I expressed discomfort at the unquestioned, militaristic nationalism, which was part and parcel of Empire and British Colonial endeavours in the time it was first put together.

Both of these points are of serious contemporary importance, both musically and politically. Inequality in the UK has been accelerating sharply since 1979 and economic recessions in recent years have exacerbated this effect[1]. Accessibility to cultural events and life-enriching opportunities is increasingly out of the reach of many, and tickets to the Last Night of the Proms are incredibly expensive. Our tickets were only £44, as they were returns with restricted view – however nearby seats were being sold at online on the day for over £700 each, and all other concert-goers my Prom buddy and I spoke to on the evening had paid well into the three-figure range for their tickets direct from the Royal Albert Hall. I therefore stand by the financial aspect of my point about inaccessibility – despite our fluke, the Last Night of the Proms is not open to the vast majority of people unless they have significant disposable income or are willing and able to Prom for the whole day[2].

The balance of new, British, straight-laced classical and world music was well tempered, with the opening piece well-pitched as an example of new music. It both pushed the boundaries of music today but remained within accessible bounds for non-academic music lovers, which reinforced the Proms’ encouragement of exploration of new music.

Most important was the atmosphere, although having a reputation for ‘upper-middle class tomfoolery’ that could be alienating for some, was on this occasion genuinely light-hearted and warm. I feel that there is an excessive sense of seriousness surrounding Western Classical music, and that contributes to many people’s sense that it is something ‘not for them’. Although it is important to be able to hear the music and not be excessively, unnecessarily disturbed, the Last Night had the atmosphere of a party that is lacking at other concerts, even at other Proms. Perhaps the other concerts in the series would benefit from short addresses from the conductor or other performers to increase the sense of connection between stage and audience and better introduce the work performed? Indeed some classical concerts do take this form, and many performers find the opportunity to address and welcome their audience an essential part of bringing them into their musical world. The sense of being relaxed around classical music is key to its future and central to the continuing development of cultural accessibility.

The nationalistic, neo-colonial tone of the second half received even more attention than ever before in this year of the EU Referendum. The dissemination of EU flags outside the event was seen as a controversial protest, and many feared clashes between In and Out factions. However as a musician I never doubted that the flags of the EU and Britain would be united at this event. It is a simple fact that all world-leading musical ensembles are international affairs –there must be so few exceptions I cannot even bring one to mind. Music has always been a thoroughly international endeavour as far back as the naturalisation of Handel in England and the exchange of composers between courts in the European Renaissance. Therefore even the musical traditions that inform nationalist works are not isolated. At a very banal level, Arne would never have been able to record Rule! Brittania without the use of the Italian notation system and the European advances in Baroque music that were ongoing at the time he was writing it.

I personally felt extremely uncomfortable during Rule! Britannia and Land of Hope and Glory, for the first time ever. I am aware that I am more actively politically involved than most people, but I used to really love and feel pride in those numbers at an earlier time in my life. In the context of pressing current affairs and social attitudes, it felt a little excessive to me. However most people enjoyed it thoroughly, and the diversity of flags waving dissipated any sense that this was necessarily a narrow-focused point being made. Conductor Sakari Oramo is to be congratulated on the gentle and uncontroversial tone in which he spoke of music’s inherent border-crossing universality.

A colleague of mine reflected that although the Nationalistic music at the end of the Last Night has deeply entrenched colonial connotations, unless we continue to perform and consider them new connotations and links will never be made with them. This thought gives me great hope. Music is, after all, the ultimate abstract representation. Interpretation of the performer and of every listener is all its essence. We can choose how and when to deploy certain pieces and work to loose them from past contexts, and make them into something meaningful for the new. However, I struggled for days to see how the words from Land of Hope and Glory (‘May her [Britain’s] bounds be wider set) could ever be entirely disentangled from the expansionist colonial programme to which they referred. Later I realised that ironically, if we take the words in today’s internationalist context, Land of Hope and Glory may after all be one of the strongest Remain sentiments expressible. If we can use the words to look beyond our shores, the words and music may be recast as a Liberal call for regional or global unity in “equal laws… by Freedom gained, by Truth maintained.”

[1] Source: https://www.equalitytrust.org.uk/how-has-inequality-changed

[2] In addition to gain access to the Last Night of the Proms concert-goers must present stubs of tickets from 5 earlier concerts in the series. Therefore queueing on the day for tickets (Promming) is effectively only open to Londoners or people who can afford to both attend Proms concerts and travel significant distances to do so.

The Game Changer – Review: ENO -Akhnaten

 

I went to see Akhnaten over a month ago, on Thursday 17^th March. After a tough month I was so desperate to see it that I paid up the last of my month’s wages for a same-day returned ticket that cost me a good deal more than I’ve ever paid for a single ticket in my life.

Why?

There are a number of reasons. Firstly, Akhnaten is very rarely performed. Its last London staging was over 30 years ago in 1984. Unless fashions change it’s down to luck whether I will have the chance to see this work performed again in my lifetime Secondly I was driven to support the ENO in their moment of crisis. There however were nothing compared to a burning curiosity I had to understand more about the music and vision of Philip Glass. Glass is a composer who, along with a handful of others, pioneered and developed the sub-genre ‘minimalism’. Minimalism and Glass’s ideas have infiltrated and influenced the basis of today’s music – pop, classical, jazz, film and soundtracks alike – more than anybody ever could have predicted they would when they first caused such uproar in the 1970s-80s.

For those readers are non-theorists, in the next two paragraphs follows a brief ( (and therefore imperfect) description of minimalism in music.

Minimalism came as part of a wave of ‘reactive’ musical forms that mushroomed in the 20^th century, as composers decided that everything expressible with the familiar form and structure of Western classical music as it was had indeed been expressed. Seeking to find new things to ‘do’ with music and new ways to convey ideas and emotions composers attempted various fundamental alterations to the Western Classical Music system. Some deconstructed the scale or familiar tones on which it is based (Schonberg’s Serialist/12-tone technique, atonal music), others dramatically altered the roles of composers and performers in the creative process of deciding what notes to play (‘graphic scores’, Ligeti, Stockhausen). Another approach questioned the concept of what could be considered a musical instrument (John Cage’s ‘Prepared Piano’, Hoffung’s Concerto for three vacuum cleaners and a floor polisher). Minimalism’s contribution was, on the surface, less radical in some ways than these other examples, but arguably has had a more far-reaching and fundamental impact upon musical aesthetics in the 20^th Century and beyond. Minimalism works by targeting principles of structure in music – from the micro level of the structure of melodies, to the larger structure of a suite or ‘symphonic’ piece, to the macro scale. Let’s say, the structure of an opera.

Minimalism is so called because it is characterised by repetition of small melodic, harmonic or rhythmic fragments with small but usually increasing variations to the repeated fragment. One effect is that, as a gross generalisation, the harmony in music tends to progress more gradually (slower harmonic rhythm) than in typical art music– but this does not necessarily mean that the music or piece has a slower emotional or intellectual development. This potential is something very fully explored in this exceptional production of Glass’s Akhnaten. In this way, Glass’s work often shifts the relationship between the main features of music – melody, harmony, and rhythm – inverting their importance or driving power in relation to one another. It is his rhythms and harmonies principally that create the haunting, and that stick in ones head long after their first hearing. Glass and his minimalist colleagues are not people who write ‘tunes’ you can sing along to.

 

All this is the basis of my fascination. I wanted to know what all the fuss was about. Like a sinner entering a church for the first time, so I approached Akhnaten.

 

A REVIEW

The production at ENO is a collaboration between the English National Opera itself and LA Opera. Starring the countertenor Anthony Roth Costanzo as Akhnaten, the production uses fantastical lighting techniques combined with historically informed costume, movement and direction choices that are glazed with the glamour of a knowing orientalism.

The opening music is played over a mesmerising iridescent backdrop that shimmers, imperceptibly changing from green to copper to gold and through marbled combinations of the three through some unperceived technical wizardry. The subtle glowing effect was spoiled for me by harsh white, modernist geometrical projections of vaguely hieroglyphic shapes on top of this screen. As the only clean lines and projections of the entire production they were jarringly out of place. Although I spent the rest of the time trying to fathom the context they were supposed to fit with, I conclude that the producers were not brave enough to allow the music to speak for itself in this overture passage and added them to spoon-feed or ‘occupy’ the audience, which is a great shame.

Nonetheless the use of light throughout the opera performance itself was commendable. Glow-tubes were used in a particularly imaginative and enhancing way in the scene ‘The Window of Appearances’, exuding confidence in the audience’s ability to parse meaning from the kaleidoscopic array of symbols, representations and possibilities presented to them by the cast and crew.

 

The movement of all actors, and particularly the chorus, was cleverly stylised. Costumes and postures directly evoked Ancient Egyptian paintings and characters. The crucially important ENO Opera Chorus was supplemented by the presence of jugglers, coordinated by Sean Gandini, whose work with variously sized white balls provided a visualisation both of the rhythm and pace of Glass’s music, but also of its structure through measured and coordinated display. Happily it is also historically consistent with the Egyptological stylisation, since the first archaeological evidence of toss juggling in fact comes from Ancient Egypt.

Apart from the consistent movement of the juggling balls, all physical action in this production of Akhnaten is paced with creeping intensity. All actors move in ultra slow motion at all times, which results in a peculiarly hypnotic effect. Just as one watches a child growing day by day, it seems as if little or nothing is happening, only for the theatre-goer to realise abruptly that whilst they have been focusing on one area of the stage the entire scene has completely changed. This kinetic effect also cleverly follows the pattern of minimalist music, which develops gradually in minute and sometimes barely perceptible ways to create dramatic and varying emotional and intellectual states.

Roth Costanzo has a truly unique voice. Seething with drama, he has an air-curdling tone that he renders intentionally thin and cutting for much of this performance. Roth Costanzo is an erudite but passionately human performer who really draws his audience into his world. His portrayal of Akhnaten was bold and complex. He fully embodies this man’s belief in his absolute power, whilst throughout simultaneously revealing his palpable frailty and mortality. Although I admire Roth Costanzo immensely I did feel his tone occasionally needed more colour and breadth in the trios to blend and mingle better with the esoteric voices of his two female co-star companions. That said, there was truly exciting chemistry and dynamism between Roth Costanzo, Emma Carrington as Nefertiti and Rebecca Bottone as Queen Tye.

Carrington brings to Nefertiti a full-bodied womanly voice, the depth and resonance of which contrasted wonderfully with the androgynous Akhnaten, making for spellbinding duet and trio work between the two. Glass scored the characters to have a similar vocal range (tessitura/pitch), which processes the unity of the characters as historical figures. The tensions of the dissonances and consonances between the parts is sweetened and heightened by the singers’ differences in vocal tone (timbre), which is especially exciting as their political and sexual relationship plays out in their mesmerising Love Duet.

As Akhnaten’s mother, Queen Tye, Bottone provides the stand-out characterisation of the production from an acting perspective. Whilst having some of the most demanding vocal lines in the entire piece Bottone pitches her role well, never overpowering the other two lead characters. She is required to emote and move the audience through micro-expression and minimal movements in both death scenes of the pieces, and successfully provides a great deal of the production’s emotional charisma.

 

This production of Akhnaten juxtaposes human nakedness and the insinuation thereof with opulence and power. Most costumes for the Pharoah and his Queen are translucent, revealing their bodies as a constant reminder of their humanity. However, like some of the other symbolic work in this production, by the end I felt it was overused. The allusion to nakedness continued in scenes even where the reminder of humanity was less central to the tensions or themes of the scene, such as in Akhnaten’s Sun Aria in Act 2. As a result, by the final act in which Akhnaten is overthrown by his people, the potence of this visual cue was greatly reduced, although still salient enough to be moving. Similarly, the juggling was possibly somewhat overdone. I was particularly disappointed at the end when the balls, which represented Akhnatens religious empire and political reign fell more than once. Surely, this should have been the one point at which the production should have curtailed their theme of developed repetition?

 

 

THE GAME CHANGER

Visually fantastic, technically excellent and musically exceptional, this production of Akhnaten is as artistically important as it was enthralling to watch. My minor criticisms of thematic work are personal opinion, and did not affect the fact that this is one of the most incredible works of art I have ever had the honour of experiencing. Glass has changed the musical landscape of the world forever with this piece, even though it is performed so rarely, and this production has set a benchmark for others both within this genre and out of it. I hope it will not be 30 years before it returns to London again.

 

 

BONUS

The Glory of Anthony Roth Costanzo:

 

 

Review: ROH – L’Étoile

 

Bursting out of a fantastical set and laced with bitingly British new dialogue, the endlessly amusing score by unsung genius Emanuel Chabrier sings out at the Royal Opera House in wild Technicolor. Silly, funny and so intelligent, this mad musical treat is a gem of sublimely surreal but warmly familiar pop-art.

 Image Source: https://i.ytimg.com/vi/KRhRyJgveXE/hqdefault.jpg

 

“Let’s stop rediscovering Chabrier every twenty years. Let’s put him once and for all in his true place, right at the top.” Roland-Manuel, Biographer of Maurice Ravel

The top it is, with Royal Opera House’s eclectic production of this rarely-performed work. Chabrier’s music is a revelation. Persistently funny, it retains a degree of elegance and intelligence that draws it into the smartness of wit just as the dazzling tomfoolery threatens to become rather too silly. The opera as a musical work is detailed and engaging throughout. I particularly admire Chabrier’s marvellous and meticulous placing of space, breath and pause, which the knowing performances of the Covent Garden cast put to proper use. Indeed like all good comedy, whilst both the music and the theatrical performances seem random and daft, under the surface of farce is a decisive and intelligent line of thought that gives this work its direction – even if that direction is somewhat squiggly at times.

Chabrier’s sound is both familiar and unique. A contemporary of Debussy, Ravel and Fauré, Chabrier was famously influenced by the music of Wagner and yet on first hearing at least, little of this seems to have obviously impacted his individual style in L’Étoile. Fascinatingly Chabrier avoided formal training, which may or may not be why his music is so packed with character, improvisational and compositional skill.

Image Source: http://www.theguardian.com/music/2016/feb/02/l-etoile-review-royal-opera-house-london

This current production by Mariame Clément presents the work in a unique and slightly altered form, including new dialogue that frames the human universals packed into this decidedly French 19^th Century comedy for a contemporary London audience. Thinking even a little about what makes comedy funny very quickly reveals that comedy is a decidedly culturally and temporally specific thing, especially given that shared political or cultural heritage is most often the basis – or ‘butt’ – of comedy’s joke. Chabrier’s storyline does indeed include a few time-and-place specific nudges that will particularly delight Francophile historians. However, a great deal of the comedy revolves around human universals of love, mistaken identity, and a generalised unwillingness to confront death without a fight. Clément’s restructuring of the work acknowledges and enhances both of these factors by introduction of the brilliantly foppish Victorian ‘English Gentleman’, Smith (played by Chris Addison) and his French Valet, Dupont. Smith and Dupont’s intermittent commentary on aspects of the story, staging, and even the subtitles re-contextualises the work for a contemporary London audience, very often by pointing out the ridiculous in an exasperated and profoundly British way. Although they have been dismissed by some newspaper critics as unnecessary devices, Smith and Dupont were greatly enjoyed by the audience and fitted seamlessly into the existing work.

Image Source: https://www.thestage.co.uk/reviews/2016/letoile-at-royal-opera-house-london-dramatically-slight/

The star of the show is undoubtedly Kate Lindsay as the obnoxious Lazuli. With a swagger that inspires envy, Kate delivers both comedic high points (Je suis Lazuli) and the serious emotional goods (O petite étoile) with vocal control that beggars belief. Sublime, soaring piano moments are contrasted with perfectly pitched sneezes and laughs demonstrating the full range of this remarkable mezzo. King Ouf’s characterful voice is also excellent (Christophe Mortagne), partnering wonderfully with the rumblingly resonant bass of Simon Bailey as the bluffing astrologer Siroco. The chorus of the Royal Opera House are particularly excellent in this production, as Chabrier’s music gives them both the opportunity to demonstrate both their technical skill and slickness as a musical unit, and to enjoy some strong character acting. The costumes are wonderful, with luscious silks and beautiful detail, as indeed is all the set.

Image Source: http://www.roh.org.uk/news/opera-essentials-letoile

In this production the set itself is a special triumph. Just as Clément’s direction and libretto tweaks reframe L’Étoile for its intended audience, the imaginative and eclectic set brings out the fantasy of the Orientalist 19^th Century fairy-tale setting with a decidedly British irreverence. In the spirit of Chabrier’s everywhere-and-nowhere-in-particular imagined kingdom, the scenery and costume design juxtaposes Arabian Maghrebi architecture, Bohemian Paris, Ottoman silks, positively Alpine countrysides and more than a touch of Bollywood ‘ouf’ in an entirely glorious celebration of what is wonderful and magical in the cultural creations of humanity. Musical and theatrical operatic devices, such as musical epithets for particular characters, are visually emphasised through apparently random imagery. The poutily gasping face of vintage woman face hails Lazuli in his ‘pedlar’ mode, and scattered bowler hats tend to appear not too long before or after the miserably hatless Smith, for example. The visuals in themselves are culturally humorous with more than a nod to the surrealist and Dadaist movements that influenced Chabrier himself. On the topmost layer, the British context of this production is driven home with clear references to Monty Python and the addition of ‘London’ pigeons in front of classic Parisian, Eiffel tower imagery.

Image Source: http://www.roh.org.uk/news/your-reaction-letoile

The criticisms of ROH’s L’Étoile in the press have run along two main veins: firstly that the production somehow lacks focus, and secondly that the work is somehow too ‘silly’ and not serious enough for the ‘grandeur’ of the Royal Opera House as a venue. In my not-so-humble opinion, such criticisms completely miss the point and spirit both of this particular opera production and of opera as a performing art in general. Chabrier and his librettists did not intend for there to be a geographical, fixed political, or indeed narrative focus to this work and to manufacture one would be to damage the intentionally light and fluffy form of the piece as a product. Clément and designer Julia Hansen have run and run with the potential for farce in the opera, and have produced sugar-sweetness of just enough intensity for a piece that is, after all, only 125 minutes long. This production is intentionally over-full. The excess of visual references to global historical and British popular culture create a world at once familiar and strange, whilst the musical and theatrical pushing of comedy and repetition reflects a slapstick humour Chabrier never really wrote beyond. I suggest that those looking for focus and seriousness find it elsewhere, in its proper place, rather than insisting it appear here. For those seeking a scholarly basis for this suggestion, they need only look to the wealth of writing that links Chabrier directly to the anarchic Dadaist movement within art that I mentioned earlier, and the tendency of his friendship circles towards surrealist and impressionist rebellions against the strait-jackets of the so-called ‘serious’ art forms of their time.

Chabrier’s L’Étoile is a wonderful reminder that really good music does not have to be pinned down by seriousness or ‘focus’, and that there’s nothing wrong with a good dose of silliness on a Saturday night at the theatre. Opera has a reputation for the macabre, the melodramatic and the ‘grand’ that is simply not true of the whole of the repertoire – and shouldn’t be. Art forms captivate the human imagination because of their endless potential to express, and opera is special precisely because it draws together music, theatre, and visual art. Therefore, why should Covent Garden’s glorious theatre restrict itself only to productions that are as gilt and pompous as everybody who has never experienced the joy of opera expects it to be? This production is a masterclass in light opera, and succeeded last night in making an enormous and packed auditorium laugh out loud every few minutes for two and a half hours. Disregarding the brilliant musical foundation of the work, that is an admirable achievement in itself.

Image Source: https://bachtrack.com/review-chabrier-etoile-clement-elder-royal-opera-february-2016

In sum, the Royal Opera House’s production of L’Étoile is a brilliant night out, driven by Chabrier’s genuinely intelligent music in a production that embraces the joy of being silly. I encourage everybody with a sense of humour and a taste of fun to grab a ticket and go see it. I’ll buy you a therapist if you don’t laugh at least once.

 

 

 

Review: ENO – The Magic Flute

 

This curious production draws together the simplest and the most technically advanced of special effects devices, running with the original spirit of Mozart’s comic opera The Magic Flute. Driven by the principles of entertainment, ‘magic’ and the spirit of the music, the result is an unusual piece of sung theatre bringing something quite unique to a well-worn favourite.

Image Source: https://www.eno.org/whats-on/15-16/the-magic-flute/2015-production-images

On Thursday 11^th March my Opera Buddy and I rocked up to the London Coliseum early to benefit from the Opera Undressed scheme run by the ENO. Opera Undressed offers members on a waiting list the opportunity to buy limited tickets for a massively discounted price of £20 a head, which gives access to a brief pre-show talk, a pair of the best seats in the house, and a cheeky G&T at an after-party with cast and crew. The scheme is excellent and I strongly recommend it to both opera lovers and opera virgins (at whom it is principally aimed). Providing a well-structured and introduction to opera through emailed synopses and the pre-show talk, it is as financially and intellectually accessible as it professes to be. The tone and spirit with which the scheme is delivered decidedly enhances the experience both of the opera in general and this production in particular.

The current production brings together a mish mash of stylistic theatrical devices, from the modern and post-modern to the very old school. The birds of Papageno the Bird Catcher are represented extremely effectively by fluttering folded sheets of A4 papers which make a flock in the hands of chorus actors in black. However in other places the chorus is in specific costume and spatially organised (‘blocked’) in a very traditional way. The use of space is both minimalist, with no specific set or scenery, yet at the same time it is highly technical, shaped mainly by a large square of staging attached at all four corners to motorised pulleys which raise, lower and angle it into slides, mountains, two-storey buildings and many things more besides throughout the show. A key feature of this production is its treatment of the Orchestra, which is raised within the pit to be almost on the same level as the main stage. Fully lit, the music and orchestra are integrated into the performance space, and “The Magic Flute” is the orchestral flautist herself, who ‘lends’ her instrument, and occasionally her talent, to the romantic lead as a talisman in times of rejoicing or distress.

Given the confusing density of different ideas, from different styles and periods of theatrical thought, the production hangs together very well as a piece. It must be said that taking away the trappings of 18^th Century costumery and pomp reveals the thinness of the narrative upon which the opera is based. However Simon McBurney has intentionally restructured this piece around the very thing the libretto was created for: special effects.

In Christopher Cook’s illuminating pre-show talk he explained to Opera Undressed goers that the libretto for The Magic Flute was written by Emanuel Schikaneder, who in addition to being a friend of Mozart was renowned in theatre at the time for his talent with special effects. The Magic Flute was always intended to be a visual spectacle, and a challenge for the theatre’s in house ‘magicians’. This production makes exceptional use of modern-day magic in the form of digital projections and a telephone-box sized sound-effects studio for creating and enhancing live sets and sound effects whilst the performance is in action. Comedic chalk drawings title the Acts, introduce characters and produce beautiful backgrounds whilst watering cans and scrunchy paper adds to the sound world Mozart created. The ‘tests’ of fire and water endured by Tamino and Pamina in the second act are particularly breath-taking, and so seamless in their execution that as an audience member excited a welcome experience of wonder and awe.

Image Source: https://www.eno.org/whats-on/15-16/the-magic-flute/2015-production-images

However the main thing that seals the production as a success is the strength of character and acting brought by the cast. James Creswell as Sarastro deserves a particular mention for his exceptional technique, resounding and rich voice and entirely believable performance of the sometimes controversial High Priest. The storyline hangs on Sarastro being both a credible ‘good guy’, and his maligned reputation being also understandable. Creswell achieves this tricky balance, whilst keeping us spellbound with his phenomenal voice. On the night we attended Lucy Crowe was ill and unable to sing Pamina, however we did not feel her loss at all. Reisha Adams, who stepped in a few hours before the performance, delivered Pamina’s arias with a clear and glorious tone that established and developed a believable and realistic portrayal of the character’s conflicting and genuine affections. Though one of the smallest solo roles, Soraya Mafi was a pleasant shock treat as Papagena, and the fantastic acting and spookily bell-like voices of the three ‘ancient children’ were confounding in their freakishly mature portrayal of ghostly decay.

Of course the real star of The Magic Flute is the wrathful and bitter Queen of the Night. She is almost always portrayed as a formidable and almost glorious super-power, a diva in a glittering ball-gown and usually with mad and enormous hair or headgear. In this production however, she is a frail, grey-haired old woman, withered and bitter, and very often in a wheelchair. Her venom, her hatred and her manipulative hang-ups make her real, a tangible and almost familiar character from a world we know. Ambur Braid stopped the show with her aria in the first act, presenting an incredible combination of vocal acrobatics with an exceptional level of acting. The way she moved and walked was astoundingly accurate in its depiction of the comportment of the extremely elderly, and this level of energy and character never slipped throughout the play. Although the famous aria in the second half was not the most technically perfect rendition it was one of the most powerful I have seen. Not only did Braid sing the opening phrases of the aria whilst hurtling herself across the stage in a wheelchair, she performed the entire aria, which is one of the highest and most difficult in the entire vocal repertoire, sitting down and very often leaning over as she caressed the head of her daughter Pamina. Not only was this a positively Olympic achievement by Braid, the energy and level of characterisation it brought to the aria was unlike anything I’d ever seen. The emotional power of the frail, wheedling, sobbing mother, stroking her daughter’s hair as she begged her to murder her enemy, was on a totally different level to the foot-stamping, hollering, shrieking poltergeist that usually is portrayed in this scene. As a result the turmoil of Pamina’s character with her conflicting emotions makes much more sense, and the frailties of the underlying story are significantly relieved.

Image Source: https://www.eno.org/whats-on/15-16/the-magic-flute/2015-production-images

This ‘undressed’ production is certainly very strange, drawing as it does from an inconsistent and confusing range of stylistic influences. However, it is driven by masterful staging and strong character acting, which makes up greatly for the flaws and imperfections of the original story and frames Mozart’s music in a playful but supported, believable world.

Note: This video uses footage from the previous cast/staging of this production at the ENO

Special Thanks to my Opera Buddy, Paris Andrew, who helped me thrash out exactly what I thought about this Opera experience.