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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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Post by Someone in a tree on Apr 8, 2023 7:08:11 GMT
I really enjoyed Dead City it's a serious, confident and highly successful production, and the orchestral playing of this woozy, decadent score is wonderful
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Post by AddisonMizner on Apr 13, 2023 5:40:43 GMT
Does anyone know when the new season is announced?
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Post by Mark on Apr 21, 2023 11:27:24 GMT
Not really an opera fan but I did enjoy Blue last night.
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Post by AddisonMizner on Apr 23, 2023 18:46:58 GMT
I went to see the BLUE matinee today, and also really enjoyed it. There really is some lovely lyrical music in it - the theme that the Mother sings when she is talking about being pregnant with her child in the first scene that is then repeated throughout in the orchestra is gorgeous! The church scene in Act Two was also a particular highlight, and the one time I got shivers down my spine. There is a plethora of different musical styles, typical of Tesori, such as spirituals and gospel, but otherwise it is so different from her musical theatre work, and is very impressive.
The subject of the opera is important, and it is good to see a modern opera tackling pertinent societal themes. It was incredibly moving, and seemed to hit home with the diverse crowd that was at the Coliseum today. It has a strong dramatic structure - I liked the mirroring of scenes in the first act, where the audience get the differing opinions of the two friendship groups about whether it is a good thing to bring a black boy into the world.
My only gripe would be that I didn’t feel that some of the singing was particularly strong.
Go and see if you can.
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Post by Mr Snow on May 28, 2023 19:10:06 GMT
BBC 4 is currently showing The Yeomen of the Guard.
Presumably it will be on iplayer for a while?
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Post by jek on Jul 10, 2023 12:01:49 GMT
I wonder if anyone on here had any success at the ENO Yard Sale at Charlton on Friday/Saturday. We went on Friday, by tube and bus, and queued for half an hour in boiling heat and no shade. We were then told that it was likely to be two hours before we got in so we gave up and went home. At 60 and with a gammy leg that wasn't feasible for me. I'm seeing lots of photos on social media of people who bought costumes and props. I bet the ENO were surprised at the crowds that turned up - from the queue I'd say it was a mix of people who run am dram companies/ cosplayers and vintage wearers/sellers. There were some complaints on social media that once you did get in there was only one till and so people were queueing another hour to pay for their items!
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Post by crabtree on Sept 1, 2023 16:44:07 GMT
I watched the Sky Arts broadcast of ENO's Pirates last week. I've loved so many of their g&S but oh dear this was flat a grim. a set designer completely on a different page to the costume designer - and so dull. Choreography half hearted. hmm
Yeomen - interesting certainly
Patience - gorgeous and definitive
Mikado - classy and inventive
Iolanthe - ravishing
Pinafore - wonderful
Princess Ida - wtf?
have I forgotten any?
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Post by Someone in a tree on Sept 1, 2023 17:35:37 GMT
Gondoliers - Martin Duncan's production was imported from Chichester
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Post by crabtree on Sept 1, 2023 21:43:56 GMT
The last Gondoliers I saw was Scottish Opera's rather straightforward one. I wonder if we will ever see The Sorcerer or a revial of Opera Norths wonderful Ruddigore
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