This review is published after the production has closed – and for that I apologise. However I couldn’t miss the chance to discuss this smart, glittering and self-consciously tongue-in-cheek performance.
To my frustration I arrived 15 minutes late, and watched the first act relayed by screen. However the relay was relatively high quality in sound and visuals, and was located in the quiet downstairs area so I could still enjoy the production (Covent Garden, take note).
Sarah Tynan was phenomenal, a jewel in a fantastic cast. This production restyled Queen Partenope as a ‘Queen Bee’, surrounded by an array of clumsy suitors as she hosts an all night Scott-Fitzgerald style party. The story maps very well, and is believable and funny by virtue of becoming somewhat less serious than the original setting.
This was clearly not the easiest of Handel’s operas to stage convincingly as a piece of theatre. It is full of many extended, intricate and virtuosic arias that lend themselves better to a declamatory recital-style. Here however arias were delivered whilst falling off staircases, arranging nude photograph exhibitions, straddling bewildered love interests and, when there was no other option, whilst drawing attention to the awkwardness of the fit between aria and stagecraft with mime, Charleston and pastiches of 1920’s dance moves.
The production was engaging throughout and laugh-out loud funny, with wittiness that showed ENO very close to its best. It left me wishing that this company could be more consistent in the quality of its productions, and play to its fundamental strengths. From my point of view these are the casting of top class, well-acclaimed singers, and well-executed productions that support but do not draw attention away from (or as with Don Giovanni, entirely change) the plot. Of course this is more easily said than done – but it’s still worth saying.
More like Partenope, please!
Datta Katha 