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Post by Dawnstar on Nov 5, 2022 18:47:10 GMT
I was waiting for the reviews to decide whether or not to book. They're not inclining me to do so, which is a pity given I've enjoyed several of the director's productions for ON.
I don't understand why the updating is to the 1950s. If they're determined to set it in the 20th centuury & want Colonel Fairfax to be under a death sentence for being a spy then why not set it during WWII, when it would be more plausible for a spy to be executed at the Tower, rather than a decade later?
I was completely baffled that one review said something along the line of Rapture, Rapture being unacceptable to perform nowadays. Why? If it's objected to as being either ageist or sexist then ENO's going to have to cut chunks out of their Mikado proudction because there's far more ageism & sexism against Katisha than against Dame Carruthers.
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Post by Someone in a tree on Nov 6, 2022 8:39:22 GMT
So after this season how much if any ENO will we get in London?
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Post by oxfordsimon on Nov 6, 2022 9:47:52 GMT
I was waiting for the reviews to decide whether or not to book. They're not inclining me to do so, which is a pity given I've enjoyed several of the director's productions for ON. I don't understand why the updating is to the 1950s. If they're determined to set it in the 20th centuury & want Colonel Fairfax to be under a death sentence for being a spy then why not set it during WWII, when it would be more plausible for a spy to be executed at the Tower, rather than a decade later? I was completely baffled that one review said something along the line of Rapture, Rapture being unacceptable to perform nowadays. Why? If it's objected to as being either ageist or sexist then ENO's going to have to cut chunks out of their Mikado proudction because there's far more ageism & sexism against Katisha than against Dame Carruthers. There has been a change in setting between the early marketing and the final run up. So initially the Yeomen were wearing GR tunics (and indeed still are in a lot of online advertising) but this was updated to ER as opening night got closer. So a slightly earlier setting was envisaged. Rapture, Rapture really isn't unacceptable compared to the overwhelming majority of operas staged round the world. We need to stop this hyper sensitivity and focus on real issues of concern.
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Post by londonpostie on Nov 6, 2022 10:14:09 GMT
So after this season how much if any ENO will we get in London?
I believe you, me and at least one other in this thread also visit other ballet/opera discussion opportunities so I'll just abbreviate my comments here; I think this might be a blessing for ENO in so much as the Coli is a magnificent venue but perhaps too inappropriate for opera and ballet, yet something the West End can really make use of in the current climate - so ENO to rent that out, income paying for upkeep, providing a profit, allowing ENO to utilise flexibly existing venues as well as others currently being built.
Sadler's Wells will shortly have three sites (1,500, 1,000, 550) plus the Lillian Baylis studio. Also, that new-build 1.550 theatre going in at West Ken/Olympia.
I do think ballet esp but also opera, needs modern backstage facilities (read; HUGE) and, actually, good seating (as opposed to Victorian-sized).
It must also be beneficial for ENO to not only and always think on a massive scale - how will we sell enough of 2,350 seats .. All the time.
Trying to feel positive, won't know for 5-10 years ..
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Post by cartoonman on Nov 6, 2022 10:27:29 GMT
It looks like the ENO are being encouraged/forced to leave London. A great shame. If they go to Manchester they will tread on the toes of Opera North. Perhaps Opera North could move to the Coliseum. I can't afford a decent seat at the ROH but can at the ENO. They also encourage youngsters and community groups with cheap/free tickets. I can't see the ROH taking up this baton if the ENO go. I have seen some great ENO shows but also some poor ones but at least they try new works. I seem to recall that the ENO own the Coliseum. Does anyone know if its possible to go to a matinee at the Paris Opera, from London, by Eurostar and be back the same day?
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Post by Dawnstar on Nov 6, 2022 14:04:03 GMT
There has been a change in setting between the early marketing and the final run up. So initially the Yeomen were wearing GR tunics (and indeed still are in a lot of online advertising) but this was updated to ER as opening night got closer. So a slightly earlier setting was envisaged. Pre-NHS would also have been a good idea. Why would Elsie be desparate enough to get married for a hundred crowns (presumably updated to pounds in this production) to provide treatment for her mother if her mother was getting free healthcare anyway?!
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Post by oxfordsimon on Nov 6, 2022 14:06:27 GMT
I have read in one of the reviews that the great Act 2 trio and quartet have been edited to remove Point.
That is a serious problem for me. If they have cast a Point who can't sing that, they made a big, big mistake
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Post by Someone in a tree on Nov 6, 2022 15:58:46 GMT
The below is from Slipped disc. I truly hope they ditch the language policy. Longterm, i hope they perform in Manchester and London - a lot of folk in the south east still need access to culture
Whatever happens to English National Opera after 2024 – and that’s an open question – there is little doubt that its founding purpose of performing opera in English is over.
It was Lilian Baylis’s dream – her religion, almost – that opera should be sung in the language of the land, so that everyone could understand.
This was a worthy and viable ambition on the original small stage at Sadlers Wells, but once ENO moved to the huge Coliseum the words emerged as a general blur, especially when sung by imported soloists from the Baltic Sea. The advent of above-stage surtitles killed off the rest of the need for English yet ENO persisted with singing in the vernacular as if its life depended on it, as in some sense it did. Singing in English was its last USP. How ironic that a Brexit regime should make that its death sentence.
ENO cannot survive in London without state funding. Its plan to move to Manchester is flimsy, to say the least. The next year may be the last for ENO. It is certainly the end of the line for singing in English such immortal lines (from Onegin) as ‘balls in the country/make us very jolly’.
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Post by Dawnstar on Nov 6, 2022 21:21:10 GMT
I have read in one of the reviews that the great Act 2 trio and quartet have been edited to remove Point. That is a serious problem for me. If they have cast a Point who can't sing that, they made a big, big mistake Does that mean they're now a duet & a trio or have they got another character singing Point's parts instead? It seems completely baffling to cast someone who can't sing the role when ENO must have plenty of baritones on their books who can. (I still think they should have cast Simon Butteriss.)
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Post by oxfordsimon on Nov 6, 2022 21:22:48 GMT
I think now duet and trio. But the review (which I now can't find again) wasn't that clear
Either way it is a major mis-step
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Post by Dawnstar on Nov 6, 2022 21:42:56 GMT
It's almost making me want to see it to see how bad it can be! Not sure I can fit it in among the rather a lot of RB Mayerlings I have booked this month though. Plus the ticket prices for anything remotely near the stage are a bit on the eye-watering side & I don't think I want to see a piece with dialogue from the Coli's balcony.
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Post by Someone in a tree on Nov 6, 2022 22:28:13 GMT
It's almost making me want to see it to see how bad it can be! Not sure I can fit it in among the rather a lot of RB Mayerlings I have booked this month though. Plus the ticket prices for anything remotely near the stage are a bit on the eye-watering side & I don't think I want to see a piece with dialogue from the Coli's balcony. Try TKTS online. Tickets for the next day go live at midnight. I got brilliant seats for Pinafore and Tosca that way
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Post by Polly1 on Nov 8, 2022 10:04:21 GMT
I have read in one of the reviews that the great Act 2 trio and quartet have been edited to remove Point. That is a serious problem for me. If they have cast a Point who can't sing that, they made a big, big mistake Does that mean they're now a duet & a trio or have they got another character singing Point's parts instead? It seems completely baffling to cast someone who can't sing the role when ENO must have plenty of baritones on their books who can. (I still think they should have cast Simon Butteriss.) I read a review which said Jack Point was played by Richard McCabe, an actor I admire greatly. I thought to myself "I didn't know he could sing" but it didn't altogether surprise me as many actors are excellent singers too (eg. Roger Allam). Now to read that they've cut his singing...I think I read he does "I have a song to sing, o" so maybe just the ensemble work he can't cope with. In any event, seems bizarre and/or wilful.
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Post by Dawnstar on Nov 8, 2022 12:47:26 GMT
I suppose "I Have A Song To Sing, O" is one of the easiest numbers in the piece in terms of singing it, because it covers such a limited vocal range. Presumably the numbers they've cut, or cut Point from, are those that are harder technically for a non-singer to sing.
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Post by oxfordsimon on Nov 8, 2022 14:15:46 GMT
McCabe reportedly accompanies I have a Song on the accordion
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Post by Dawnstar on Nov 8, 2022 19:27:57 GMT
I suppose that makes sense from the strolling player point of view but I'm not sure I'd want to hear it!
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Post by Mr Snow on Nov 9, 2022 10:59:42 GMT
I suppose "I Have A Song To Sing, O" is one of the easiest numbers in the piece in terms of singing it, because it covers such a limited vocal range. Presumably the numbers they've cut, or cut Point from, are those that are harder technically for a non-singer to sing. Maybe the easiest, but it's my all time favourite from the G&S catalogue. The melody seems dreamily timeless to me. If that went so would I. Think I will be buying tickets to this and Rheingold and its time I saw a Glass and a Korngold opera. So that's more than the last few seasons. Seems like ENO has been in "crisis" the past 20 years or more. I have a deep, as in first, love for it but I seem to go less and less. (Have similar thoughts about the National) I just don't see anyone with vision for the Arts speaking up. I hope I don't look back and think I lived through some kind of golden age.... FWIW I would have no objection to dropping English for all productions. Staging smaller works outside the Coliseum. Making it English, as in not just London based. In fact less, better productions, in appropriate venues would strongly appeal.
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Post by Jan on Nov 10, 2022 7:37:44 GMT
McCabe reportedly accompanies I have a Song on the accordion No surprise, he played accordion in the band Tenpole Tudor in the 1980s and I can remember him playing it in several RSC Shakespeare productions too. It's like Billy Connolly's observation on how speciality acts used to be shoe-horned into pantomimes: "Now that we are all alone, I think I'll play my xylophone".
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Post by tmesis on Nov 10, 2022 17:14:51 GMT
According to Norman Lebrecht there is a Whitehall leak that the Department of Digital Culture Media and Sport is in talks with RAH to run The Coliseum. It will not own it, just manage it. The Coliseum will be a subsidiary venue where it can transfer successful shows.
Can’t quite see how this will work but see slippedisc.com.
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Post by Someone in a tree on Nov 11, 2022 12:23:16 GMT
Yeoman - this was a huge snoozefest for me. G&S without the mega topsy turvy plot is just just dull. I have read that score is one of his finest, didnt seem like this to me. Orchestra and singers all sounded great though.
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Post by oxfordsimon on Nov 11, 2022 13:24:40 GMT
It is a glorious sing. I have played Fairfax a couple of times and it is probably the most musically rich experience of any of the scores.
Act two has a great run from Free From His Fetters Grim to Strange Adventure into A Man who Would Woo a Fair Maid and When a Wooer Goes a Wooing.
Both finales have thrilling choral moments that match much of the rest of 19th century writing for the stage.
From all I have seen about the current production, they seem not to take it seriously enough. It isn't Shakespeare but if you play it with heart, it is genuinely moving.
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Post by Mr Snow on Dec 3, 2022 7:53:28 GMT
I (mostly) really enjoyed it my first Yeoman.
Loved the music and the update seemed lightly done compared to most such productions. I Alexandra Oomens as Elsie was quite wonderful. Sadly the fears for McCabe's singing fully justified.
I would happily revisit.
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Post by AddisonMizner on Dec 3, 2022 19:48:05 GMT
I have just seen IT’S A WONDERFUL LIFE at ENO this afternoon. Well, if this opera and production doesn’t explain why the Arts Council decision needs to be reversed, I don’t know what does! By far the best thing I have EVER seen at ENO by a country mile!
I love opera with all of my heart, and it is one of my deepest passions, but I have never been as moved or emotional at the opera as I was this afternoon. I had tears streaming by the end, and was welling up throughout - at a musical figure, a dramatic moment, a combination of voices or the chorus singing full throttle.
The music is GLORIOUS! Lyrical and singable (I can see why singers love performing his music), but attached to time and place in a way few operas are, and dramatic. The decision to have the scene where Clara shows George what life would have been like without him to be all dialogue, without music was a masterstroke, and I am still moved when even thinking about it to write this. I remember years ago hearing Joyce DiDonato sing a song cycle of Jake Heggie’s, and I enjoyed it. I have followed his music since then. I hope we get to see more of his work done in the UK.
The production is beautiful. There is wonderful use of projection throughout, but the physical elements are also impressive.
The cast did an excellent job.
Please go and see this if you can during its run (I believe it finishes next Saturday, 10th December). It will be an acquired taste - some will think it is a bit schmaltzy, but I am a sucker for that!
5 stars from me!
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Post by tmesis on Dec 3, 2022 23:03:51 GMT
Sorry AddisonMizner but although I enjoyed the production and the performances were all first rate it failed to move me even slightly and I thought it was musically well below par, really just second rate pastiche Richard Strauss. The whole thing was one continuous arioso that never blossomed into a fully fledged aria - not even at the end where there was a golden opportunity. Lots of operas are mainly/completely arioso but you have to be a seriously good composer to bring this off and Heggie isn’t.
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Post by cartoonman on Jan 31, 2023 13:09:49 GMT
Does any insider know what ENO have planned for the 23/24 season. I know details will be out in May but I would love to know what's happening early.
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Post by interval99 on Mar 21, 2023 18:14:36 GMT
With Akhnaten they have a sellout run now on its third return I think. Still visually and musically stunning and great to see Anthony Roth Costanzo in the title role and Zachary James as the scribe return again. On the opening night Philip Glass joined the curtains call. How everyone keeps their focus and cues over the three hours of powerful but hypnotic music is stunning to witness, the amount of effort it must take from everyone on stage and in the pit. Karen Kamemsek the conductor does a amazing job and certainly earns her wages on this one.
If you have any interest in Egyptology and spectacular shows its worth booking for this on its next return (depending on what does happen to the ENO) the met hd live does have it for streaming.
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Post by alece10 on Mar 25, 2023 10:55:04 GMT
First time seeing Akhnaten and 2nd visit to see a Philip Glass opera. It was truly stunning and the 3 hours just flew by. Its the kind of opera where nothing is happening but everything is happening and there is so much to watch. You can see why opera costs so much as this production was huge by the time you have the elaborate sets, absolutely amazing costumes, orchestra, massive ENO chorus, principals and the jugglers. Friday nights performance was sold out (as is the whole run from what I hear) and, certainly in the stalls, very well behaved audience with no coughing, talking, phones, eating etc. Loved it.
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Post by bordeaux on Mar 27, 2023 5:45:18 GMT
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Post by bordeaux on Apr 6, 2023 8:13:37 GMT
Double visit to the ENO this week, The Dead City, on Monday and Akhnaten last night. Two excellent evenings at the opera and a reminder of why the company is so loved. Both nights seemed sold out and, having not been for a few years (I no longer live in London), I was delighted at how many young people were there, especially for The Dead City.
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Post by londonpostie on Apr 7, 2023 17:07:22 GMT
I've been pondering Akhnaten and, well ... based on the music, his reputation and inquiring minds, I think the production sells out anyway - at least in London (was it 10 or 12 sell-out performances, at 2, 200 a shift?). And that is great. If a story is there (enough of it, layered, interesting), then I can't say much for Glass as a librettist, or more exactly a commissioned librettist. Substance or not, I wonder if there was enough there to challenge a top level director and set designer. There is surely only so much you can do with repetitive phrasing and tonal modesty, one of which appears to be .. massed ranks of juggling. People like it, reviews were uniformly very/good, so I'm open to anyone saying why this works in operatic form .. Musically, much to admire, of course. Highlights for me were Nefertiti (wife) in general and particularly when paired with Akhnaten (her soprano, his countertenor (soprano)). Visually, it felt largely static and lacking visual stimuli and ideas. It felt difficult to connect with even a dominant story arc, never mind secondary. And then there is the disappearing penis. For my money, if we're going in that direction, I felt there was much more to say about the Kings relationship with some/all of his daughters .. instead of: voila, no cock! And leaving it at that.
Maybe it's me, for whom melodrama (after melodrama) is pretty key in this art form.
Anyway, live music won the day.
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