ENO: Kentridge's Lulu ★★★★

Brenda Rae in ENO's 'Lulu'  (C) Alastair Muir 

This week is another tasteful and satisfying evening out at the ENO. It is also the second time the ENO has presented a revival work, following The Pearl Fishers (click here for my review), that went down a treat in New York's Met opera house last year (click here for my review), also shown in Amsterdam as a co-production with Dutch National Opera. The formidable artistic director William Kentridge has brought his magnetically animated production of Berg's Lulu to the ENO stage, and for an English conversion it seemed to work so, so well.

Alban Berg didn't live long enough to finish his three-act opera, and it was in the hands of Friedrich Cerha to complete the final and most ghastly act where our lead character is murdered by London's mysterious killer - Jack the Ripper. 

The narrative of Lulu isn't, at all, complicated, yet the musical mastery of Berg's score shows the depth of his innovation, out of the Second Viennese School, with expressionist composers Arnold Schoenberg and Anton Webern. Berg wrote his second opera, after a successful Wozzeck, during a time in Germany where women were repressed, and writing Lulu was his escapism. 

James Morris as Dr. Schöen and Brenda Rae in ENO's 'Lulu' . (C) Alastair Muir 

This modern opera (1937) is atonal and remarkable for a narrative filled with diverse voices; brimming with scandal, mistresses, clandestine relationships, sex, blood, and suicide. That said, everything is left to the audience's imagination in Kentridge's stylish production; you may see underwear and legs, but hardly a sight of nudity - the projections do the work. 

Lulu, an alluring, yet brazenly sexual woman is loved and lusted over by many. It is her sensuality and seductive powers that bring her admirers down, yet as the opera progresses audiences see that it is the essence of her ultimate demise as well. 

The production has various dynamic parts and components happening at the same time. The stage is a party of all sorts: mime, moving imagery, strong visuals, projections of expressionist artwork, thick paint marks, and a rainbow set that perfectly sits within the 1920-30s vintage style and couture. Audiences applauded Kentridge, Sabine Theunissen, Greta Goiris, Catherine Meyburgh and Urs Schöenbaum for their creative achievements at ENO's opening night. 

Mark Wigglesworth drains out the best he can of the ENO Orchestra as it is his last performance as ENO's music director. The orchestra sets in motion a buttery, rich and unbroken interpretation under the baton of an exceptional conductor. 

Brenda Rae and Sarah Connolly as Countess Geschwitz in ENO's 'Lulu'. (C) Alastair Muir 

Having seen Marlis Petersen, who had mastered the role of Lulu for 20 years, at the Met Live production last year, it is hard to compare American soprano Brenda Rae for her own vigourous interpretation of the title-role. Lulu is a challenging and tough role, but Rae is consistent. Ready for each scene, she has vocal charm, yet it would have been nice to see something that stood out in her performance - something she could call her own. All of Lulu's admirers - Countess Geschwitz, a schoolboy, painter, athlete, animal tamer, Dr. Schön and Schigold - are performed by sublime soloists, Sarah Connolly, Clare Presland, Michael Colvin, David Soar, Nicky Spence, James Morris and Willard White. 

Joanna Dudley gives a fine performance as the symbolic mime figure of Lulu's alter ego. While Lulu arouses Dr. Schön's son's Alwa, Dudley distorts her body, opening her legs but holds them in the air for minutes, suggesting she is ready to commit adultery on the same sofa her second husband bled to death. Andrea Fabi is also a bold mute figure from a black and white film that acts like a butler to the stage, helping the characters along with the narrative. 

This is a unique and tenacious production, worth seeing, but it is three hours and 40 minutes long. The ending may receive some mixed opinions and the opera won't be to everyone's taste, yet why stick to what you like and know? Try something new and get a ticket to a unique opera which will give your brain an opera orgasm. 

Lulu is showing at the ENO until November 19th 2016. Get your tickets now here!

#Intervalphoto

Capturing another shot of William Kentridge's spectacular set design of #ENOLulu. pic.twitter.com/ZoB8WiZ6Yt

— Mary Grace Nguyen (@MaryGNguyen) November 9, 2016

English Opera worked for me in this colourful, exquisite, yet dark production.An absorbing and thrilling Wednesday night at @E_N_O #enolulu pic.twitter.com/IzSTcv23WP

— Mary Grace Nguyen (@MaryGNguyen) November 9, 2016

Current view and I'm not complaining. #enolulu pic.twitter.com/EDgrmSNwmy

— Mary Grace Nguyen (@MaryGNguyen) November 9, 2016

Barbican and ENO's Between Worlds ⭐⭐⭐

#Review ⭐⭐⭐ @TansyDavis ' #ENOWorlds 'Original and authentic' but 'surprisingly suffocated'

Click here for my full review: http://www.ldncard.com/blog/between-worlds-barbican/0214

ROH: Glare ★★★★ Short, philosophical, contemporary and splendid

By Mary Grace Nguyen 

Sky Ingram as Lea in Glare. Royal Opera. Photographer - Sim Canetty-Clarke © ROH 2014.

Philosophical inquiry into the nature of consciousness has been discussed ever since humans have existed. 16^th century French philosopher René Descartes first introduced the phrase Cogito ergo sum (I think therefore I am) to prove that if someone was capable of thinking, than they must exist. Yet in 1949 English philosopher Gilbert Ryle argued against Descartes notion of the mind and body with his own premise namely, ‘Ghost in the Machine’ claiming there was no such thing, as the mind and the body co-existing, but only the mind. I cannot attempt to list all of the ideas concerning consciousness; but it is fair to say that many philosophers, until now, still grapple with this never-ending debate.

Sci-Fi movies such as The Matrix and Blade Runner, (and even Japanese Anime like Ghost in the Shell) have presented visual vehicles to see how these metaphysical notions would play out. Now, in the Linbury Studio theatre of the Royal Opera House, we have a new Sci-Fi opera that have the fine trimmings of a Sci-Fi production: the electronic music, the science fiction storyline and ‘glaring’ visuals.

In this intriguing opera, composed by Søren Nils Eichberg and directed by  Thaddeus Strassberger, Alex (Amar Muchhala) breaks up with Christina (Clare Presland) and begins a brand new relationship with Lea (Sky Ingram): an absolutely perfect girl. Yet things aren’t what they seem. Alex begins to notice her strange and often repetitive behaviour and as he confides this to his scientist friend - our modern day Victor Frankenstein - (Ashley Riches), he explains that Lea is in fact a Learning, Exposed Android.

From the outset the musical composition sets the tone for our Sci-Fi genre by harnessing a refreshing and experimental score of classic, rock, jazz, and, more importantly, electronic music. (My ears also heard deep bass notes from night club genre dubstep as well.) With craftsmanship, Eichberg’s score meshes together atmospheric sounds which neatly tie in the interactions of its characters and stress the deeper questions the opera asks such as what is real? What is natural? What constitutes as a person? And even, what is the perfect girlfriend? 

Conducted by Geoffrey Paterson CHROMA, a chamber orchestra of 11 players (including drum kit, double bass, contrabassoon and bass clarinet), string together a mix of contemporary music with computerised sounds amplified by speakers surrounding the audience. This, layered with beautiful operatic voices, clearly thwarts every preconceived idea that opera is only for classical music lovers.

Madeleine Boyd’s setting is also fitting and doesn’t require special effects or prosthetic makeup. Set in present day, the minimalistic stage of the Linbury studio is sufficient for this short, 1 hour 15 minutes, splendid opera. On our left is pink neon lights with the words ‘you are perfect’, a white mattress and a metal sink on our right. 

Ashley Riches as Michael, Sky Ingram as Lea, Amar Muchhala as Alex and Clare Presland as Christina in Glare. Photography by Sim Canetty-Clarke © ROH 2014

There are peaceful scenes of a sexual nature, including lesbianism, that are not humiliating; but there are also physically violent scenes including attempted rape. What the audience sees and hears may urge some to think the libretto, written by poet Hannah Dübgen, is misogynistic unfortunately with tell-tale lines such as ‘women are all the same!’ Yet these honest lyrics to every day conversation, which is sang operatically, are pertinent and highlight the abnormal and alien nature of the Sci-Fi genre.

Glare has excellent performances from its opera cast. Ingram as Lea gave a perfect performance, both vocally and on stage, and that wasn't just because her android self was meant to be. Her envision of Lea was innocent, and it was sad to see her confused of her identity and victimised by all. Muchhala sung with sensuality and genuineness for playing the indecisive and troubled male while Ashley Riches developed his villainous character as an evil baritone and prime non-sympathetic and unfeeling chauvinist. And Clare Presland as Christina sang with pathos as she played an influential role in being the contrast of Lea: a real woman filled with passion and emotions. 

For Thaddeus Strassberger this is one of his adventurous productions, which demonstrate his ability to produce both modern, outlandish and traditional operas. There are just a few 'glaring' stage direction questions I have in regards to Riches singing with crisps in his mouth and reasons why Presland stands with her face to the wall with a knife in her hand. What does it mean? 

Søren Nils Eichberg © Henning Harms

The Sci-Fi concept is a fresh one and a great comparison from his last production at the Royal Opera House, I Due Foscari: a Verdi opera set in classic 15^th century Venice. For Eichberg, Glare is a grand slamming way to debut at the Royal Opera House and I hope to hear more of his work soon.

Glare is showing until 22nd November. Click here to purchase and buy tickets 

I purchased my ticket for this production

 

Whoever thinks opera is just for classic music lovers is a fool #Rohglare has it all! My favourite music!: Classic, jazz, electro & dubstep
— Mary Grace Nguyen (@MaryGNguyen) November 14, 2014

#Rohglare Short, philosophical,contemporary & splendid.Ingram gave a "perfect" performance not just because her android self was meant to be
— Mary Grace Nguyen (@MaryGNguyen) November 14, 2014