English National Opera
Directed by Christoper Alden
Reviewed by Kimberly Knudsen
From the very beginning of the performance, as a photographer appears on stage and takes a picture of the audience, we are aware that we are in for something far removed from Handel’s original comic opera from 1730. In the programme notes we are told that the inspiration for the production comes from the Surrealists and their views of love and desire and how ‘the forces of feeling overturn the artificiality of relationships’ putting desire at the centre.
Director Christopher Alden has taken this tale of love and all its complications far from the composer’s original setting in the mists of Greek mythology and transplanted it to Paris in the 1920s. The setting is a salon where parties, card games and cocktails are the norm, at the centre of it all is Partenope, very obviously the queen of this social circle.
As Partenope, Rosemary Joshua presents us with a character who clearly revels in the attention she receives from Arsace. With a grace and style to her movement as befits the 1920s setting, and with a wonderfully strong and clear voice she makes it abundantly clear why men would fall for her, much like the siren the character was originally based on. Christine Rice is outstanding as Arsace, clearly still in love with his former betrothed Rosmira but also in love with Partenope. She is instantly believable in the role and copes marvelously with the demands of Handel’s score. Partenope’s rival in battle Emilio, sung by John Mark Ainsley, is presented as a Man Ray like photographer who flits between the characters revealing their inner selves through photography. As in the Handel original, he is the catalyst for all of the action. Iestyn Davies as the weak willed, but ultimately successful in love Armindo, brings a richness of voice to the role in a very assured performance. Patricia Bardon as Rosmira/Eurimene seemed to enjoy the challenges that come with the female/male role and sang with a richness and clarity which shone through.
The remaining cast member ENO young singer James Gower in the role of Ormonte showed promise and should soon be stepping up to some meatier roles. Amanda Holden’s translation may offend some with its modern approach but it certainly provided much laughter and made the action easy to follow. The orchestra, skillfully conducted by Christian Curnyn, and featuring some wonderful period instruments such as the theorbo, kept the pace lively and entertaining throughout, doing justice to Handel’s score.
The cast were warmly applauded at the end of the performance, however there were some boos when the production team joined them on stage. Perhaps the purists in the audience did not take to the setting of Act 2 with a toilet as the centerpiece? However the overall effect was wonderful and made for a thoroughly entertaining evening.
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