Tag: Mozart opera

Human Nature. Just the same as before.

We take a fresh look at this new interpretation of the standout 2014 production of Mozart’s “Cosi Fan Tutte” and ask, as it returns to the London Coliseum here in March 2022; how come the the mix of Women and Men and Mozart, never loses its appeal?

There is a young business lady waiting hurriedly inside the Chanel Shop at St Pancras as I happen also to be stepping inside for something. We exchange a few words of greeting. She says that she is running for a train to Darlington. I tell her I am en route to Cosi, at the ENO.

“Oh!! I just love that opera!” she says. “I would love to come – when is it on next?” I quickly look at my ENO app, and smile give her some alternative future dates etc.

I am taking an early dinner at the restaurant just up the road from the London Coliseum and the maitre d’ squeezes me in at a single table just alongside two ladies who are well dressed, with obligatory bottle of chilled white wine, and they are talking animatedly.

“We are going to the Opera!” , they say.

“Really!” – I reply.

“Yes – we have not been for ages, and we are SO looking forward to going out again, And “Cosi Fan Tutte” is one of our favourites.

There is a lot of psychology talked in the media about the darkness of human nature within Cosi… and are we talking about all Women, or all Men, or all relationships – or just a few, and my answer to that is; Come on, guys – this is a Funny Story. That’s it.

The appeal of its story and attraction, is indeed based on several levels, and I will come to that shortly – but people do not come to the ENO production of Cosi Fan Tutte because of they want a seminar on human nature. If they sat down and thought about it, they come because they want to enjoy the constant melody, the incredible harmonisation, the forcefulness – and subtlety – of the direction, the spot on note perfect singing. People going to an ENO Mozart Opera want to be entertained and feel good, despite its underlying messages. I found myself still singing the tunes long after getting my return train from Paddington.

This production is the same as before in 2014 in many ways, the same Coney Island fairground set. There is the same Fortune Teller cabin, redolent of Tom Hanks in “Big”. The same concept of circus gymnasts skills ensemble. It is slapstick and very, very funny.

The additional playing the Ukraine National Anthem, before curtain up – added to that sense of absolute importance. It reminded me all those years ago of the Don Giovanni first night, on the first night of ENO at the Coliseum, – when the Russians had just invaded Prague. No, some things don’t change.

This performance gave a shop window to several of the Harewood Artists who are the future of ENO Operas. Nardus Williams as Fiodiligi is superb as soon as she starts singing; Benson Wilson is just great to listen to. But stealing the show, so to say, has to be Neal Davies as Don Alfonso, always in charge of proceedings, never losing his grip – and his synergy with Soraya Mafi, whilst not as crisp as Mary Bevan originally, was spot on note perfect. I think she can be even more acidic and sharp in her storytelling.


But what took all of our breath away – was the sheer complexity and delivery of the close harmony. It never let up. The complex intertwining of medallic lines, each protagonist singing as if their lives depended on it. It was absolutely glorious.

My colleague at the end of Act 1, stood up at the Interval and looked at me, in a state of shock. We all know that ENO performances and direction are always on the edge, the exploration of new angles and avenues. But nobody does Mozart better when it comes to opera for the people.

There are still a couple more performances at my time of writing this Note. Well worth making a point of going.

ENO CONJURES UP MORE MAGIC


We review the first night of the favourite Mozart’s “the Magic Flute” at the London Coliseum.

Ever since my days at University and falling in love with the Magic Flute even as a teenager – Mozart Opera has always held a special place in my heart. In the same way that “relationships” need constant adjustment and spark – so the magic of ENO is its re-interpretation, at every level, of the Operas that it performs.

This was my second viewing of this original production. But not for my two ladies who sat next to me. This was their first ever opera performance. They chose the right topic and evening.

This performance was sharp, very well constructed, the classic ENO minimalist approach of letting the performers take you by the hand on the journey, the mix and almost conversations of orchestra and protagonists, and particularly principal flautist Claire Wickes wandering into the stage in dialogue with Papegeno.

The sudden-ness of the orchestra kicking into life as we start with full lights on in the auditorium – to grab our attention, and the humour of the Chaplin-like screen writing, tells us everything we need to know. This is no classical Mozart. This is Mozart made modern.

You can only do this, of course, if you have the professional immaculate singing. ENO excels at the Chorus, the groups of singers. And yet this was the area that for me was the least convincing this time around. It took a while for the Three Ladies to get into gear – but this is to be picky. I loved Lucy Crowe as Pamina, and Rowan Pierce later on as Papagena is always funny and spot on – she gave a brief synopsis of the approach when she sang just a few months ago at the ENO Celebration Evening.

ENO is always very clever and relaxed when it does Mozart. This “Magic Flute” is up there in competition with its staging and performance of “Cosi Fan Tutte “ a couple of years ago.

It is a performance to enjoy as an old friend. But it is also for newcomers. One of the key aims of ENO is to widen the approach to a wider audience. My ladies sitting next to me, were not disappointed.

A FANTASTIC BUZZ AT ENO’S LATEST “MARRIAGE OF FIGARO”!

We review the latest Figaro production at the London Coliseum

Mozart operas at ENO always have fantastic and clever beginnings. If the word “tangential “ applies to probably every ENO production and approach, then last night’s Figaro did not disappoint.

The imagery of a bumble bee trapped inside a harpsichord syncing into the rapid overture, sets the scene, and with a driving orchestra and some standout ensemble and solo performances, especially from Rhian Lois, making her role debut as Susanna, this was a performance that whilst taking just a little time to really get going – absolutely left its audience spellbound. I have always said that, for newcomers to opera, make sure you go to an ENO Mozart performance – then this production (and it was the second time I have seen it) – came alive. You got to go.

So why a difference? You could argue that Figaro of all operas, is the easiest to get along with. Nobody does a bad Figaro. And that misses the point, because yes indeed you can do a boring Figaro. The real trick is to engage with the audience, and this takes subtlety, exquisite direction, timing of humour and of music and dramatic art – all of which this performance has in spades. And it plays to mature opera-goers as well as newbies; my colleagues alongside me were humming along to the melodies, that everyone knows – but we all wanted to hear. The timing particularly of Lucy Crowe, debuting as the Countess, excelled in her “dove sono i bei momenti” aria.

What is there to love?

Sure, the visual complexity of the revolving stage creates the confusion and the rapid movement of players as the drama speeds along, compounds that – but the secret sauce of this production is the speed of the orchestra, that forces the pace.

This in turn forces the key protagonists, particularly in the close ensembles, to be rock solid in timing and harmony – and they belt out their parts. Each player has a point to make. nobody takes any prisoners in this performance but surprisingly, the performance is actually funny! I found myself LOL at the absurdity of it all, and how many times have I seen this opera?

Whilst every singer/performer absolutely does justice to their respective roles – the standout performance that is the glue that links the others – has to be Rhian Lois who has nothing to fear in commanding the big Coliseum stage. Rhian is a Harewood Artist and she reminds me of Mary Bevan in her role in Cosi Fan Tutte.

The ENO bars are closed by the time the performance finished, which is a pity. I took a glass of wine at the adjacent St Martins Hotel hidden gin bar. At times like this, you need to raise your glass.