Great performances overcome ‘Otello’ racist legacy @ ENO 2
I find Shakepeare’s Othello problematic in the extreme, all the racist references in the text, the historic use of blackface, the desperate fragility of a black man so easily duped by a white conniver, the hysteria around strong and bestial black hands closing around the white neck of the blameless Desdemona, even more so when ...
Gilliam’s brilliant, bonkers Berlioz @ ENO
Bombastic imaginations, bonkers juxtapositions, no attention to rules of deportment, and energy without limit. It would seem that Hector Berlioz and Terry Gilliam are a match made.. well, somewhere .. but certainly for each other. Following the wild and wooly success of his Damnation of Faust in 2011, Gilliam has trained his most particular talents ...
ENO ‘Cosi’ conjured at Coney Island
How do you solve a problem like Cosi — Mozart’s Job-like musical glory of messing with the minds of two women on a bet, just to prove that they’re “like that”? In the words of Peter Sellars, prior to his revisionist diner production more than twenty years ago: “Is this the most offensive anti-feminist opera ...
Flirting with Fascism, Sinatra: ENO’s Rodelinda
I’d been away from London, in New York, for Rodelinda’s Coliseum premiere but heard such good things about it that I arranged for one of its last performances and am so glad I did. Beyond the grace of Handel’s music conducted by baroque specialist Christopher Curnyn and played with usual panache by a reduced English ...
‘The Magic Flute’ at English National Opera
Opera lovers in London have any numbers of possibilities. We can go mammoth: Aida in the Royal Albert Hall for an audience of 3500 with singers and orchestra miked to the max; or miniscule: the prizing-winning Opera Up Close at the Kings Head Theatre Pub in Islington for 110, its Prohibition-set Traviata currently running until ...