★★★★★ ENO: Philip Glass - Akhnaten

Photo by Richard Hubert Smith

Director, Phelim McDermott and Improbable Theatre Company have produced something special at English National Opera at a time when the opera house really needs it. From stage designs by Tom Pye and Kevin Pollard, lavish costumes, mesmerising music and unbelievable voices - by soloists and the beleaguered ENO chorus -, this has prompted positive reviews from critics and sell out performances. (I almost missed out on seeing this production if it wasn’t for standing day tickets, which I bought on the day for £10 each.)

Composed by Philip Glass, Akhnaten is mesmerising, enthralling, and enchanting. I simply had no idea what to expect, yet I left feeling excited about the production and mentally calmer than I had been before the opera begun.  It’s fair to say that there’s certainly something stunning and enchanting about Glass’s music here.

Not many know of Akhnaten but he’s very different from other pharaohs. The life of Akhnaten, who was pharaoh of Egypt around 1350BC and married to Nefertiti, is known in ancient history for converting his people to believe a new religion, following a monotheistic sun god. The storyline, itself, is rather basic but the staging is finely executed by its remarkable music score and vocals, which is the key focus, I thought.

Glass (being Glass) has distinctive features to his music – made up of modern minimalism and experimentation – that somehow relaxes and soothes you – it has a way of making you want to pray or at least meditate. McDermott ensures the performers move very slowly and it is this slowness, which increases the grandeur and mysticism of this opera.

For one thing, there are no surtitles. The singing is partly done in ancient Egyptian (or Hebrew) and English, but there is a scribe (Zachary James) who explains in poetic verse, from the Book of the Dead, on what’s going on in every scenes. James performs with great diction and has the wonderful ability of projecting his voice to the entire auditorium; every person could hear his every word.

American countertenor, Anthony Roth Constanzo is a complete delight as he performs as the newly made – naked and vulnerable - Pharaoh. His voice is splendid and his acting is completely engaging. Emma Carrington is elegant as Nefertiti and with Constanzo they sound stunning together when they sing a duet in act II. Rebecca Bottone as the pharaoh’s worried mother is also exquisite in voice. 

Photo by Tristram Kenton

Karen Kamensek takes care when she conducts but adds a layer of depth, which is audible from the pit. From as far back as the balcony, I could hear every little musical detail and the musicians seemed on point with Glass’s rapid and repetitive score.

It was almost unpredictable with Glass: one moment I’d think someone’s phone had gone off or someone had loudly poured water into their cup, yet no – that was all part of Glass’s unpredictable score, which is an odd thing to say considering how his music is hugely repetitive. It has a trance-like effect and for the orchestra it was a tough challenge having to keep up but they seemed to be confident and secure.

What’s also different is the clever input from jugglers who knew how to throw their balls around without slipping, but their ball-playing depict Akhnaten’s power and are not simply there as part of some cheap entertainment ploy. 

Photo by Tristram Kenton

The loudest applause went to the ENO Chorus. They were mostly seen in the first act, however, you could hear them in the back singing beautifully as ever in the other two acts. Each time I see them, they seem stronger in voice and stage presence, which comes as a shock to many when we hear about the financial squabbles going on regarding their pay currently - still- in disarray while the ENO's management try to think up a solution.

I’m glad I went through the trouble of seeing this opera, which woke me up to beautiful sights and sounds. Although others and I will agree that Akhnaten was worth all the stars, there were some that deemed it 'dull' or 'boring' (and I'm sorry that they felt this way) but comparing Akhnaten to The Marriage of Figaro would be the wrong way of justifying why they didn't enjoy it. They are entirely different pieces within the same genre, and there's nothing wrong with preferring a different style over another. For me, this production worked more than I could imagine. 

Last showing of Akhnaten is Friday 18th March 2016. You can purchase standing day tickets for £10 each in person. Click here for more information. https://www.eno.org/whats-on/akhnaten/

Curtain call photo! Thank you for an great evening - soloists, designers, musicians, Chorus & jugglers #ENOAkhnaten pic.twitter.com/Tc90ijK3rF

— Mary Grace Nguyen (@MaryGNguyen) March 17, 2016

Standing ovations for Anthony Roth Constanzo& the praiseworthy #ENOChorus.Here,he thanks them @Save_ENO #ENOAkhnaten pic.twitter.com/TCVoVMqbOz

— Mary Grace Nguyen (@MaryGNguyen) March 17, 2016

Honestly, where would we be without the ENO Chorus? Utterly sublime tonight. @Save_ENO #ENOAkhnaten pic.twitter.com/pAvUsrbrxK

— Mary Grace Nguyen (@MaryGNguyen) March 17, 2016

Totally out of this world.Philip Glass's score is enchanting and mesmerising;I felt like I was in a trance.BRAVO #ENOOrchestra #ENOAkhnaten

— Mary Grace Nguyen (@MaryGNguyen) March 17, 2016

I thought I heard phones going off,ppl farting & water being poured into a cup but no-that was all Philip Glass! #ENOAkhnaten #unpredictable

— Mary Grace Nguyen (@MaryGNguyen) March 17, 2016

Only a few hours until #ENOAkhnaten. Oh yes!!! pic.twitter.com/I3dlw9jr90

— Mary Grace Nguyen (@MaryGNguyen) March 17, 2016

McDermott's Cosi Fan Tutte at the ENO - A spectacle of candyfloss ****

Phelim McDermott’s production of ‘Cosi fan tutte’ at the English National Opera (ENO) is an outstanding display of eclectic and vibrantly coloured set designs. Tom Pye’s scenery evokes a 1950’s fun fair similar to Coney Island which include all the circus trimmings from a neon ferris wheel, cotton candy, tea cup rides and strange circus folk named the ‘skills-ensemble’ of contortionists, fire eaters, dwarfs and, even, a quiet giant. This glitzy extravaganza mimics a scene out of a Baz Lurhmann movie, which adds a fun and comedic edge to Mozart’s ingenious musical score despite its misogyny and ironic story line.

"Fiancée swapping" was a 13^th century practice which has influenced great literature like Shakespeare’s ‘Taming of the Shrew’, Mozart and his librettist Da Ponte's ‘Cosi fan tutte,’ which at its premier (1790), was considered a derogatory piece, Now, 300 years ahead, the severity of the, then, sordid plot has trivialized and much exploration has gone into what musicologists have claimed is Mozart’s best work. But, alas, this can’t be said for McDermott’s production despite its visual entertainment and theatrical brilliance - there just wasn’t enough opera oomph, in my opinion.

At times, there were intriguing tricks taking place in the background but this left the audience torn between watching this and the actual opera; sword swallowing, balancing acts and other impressive talent couldn’t be applauded because Fiordiligi (Kate Valentine) and Dora Bella (Christine Rice) were singing and rightly so – ‘Cosi fan tutte’ is an opera after all. This was coupled with various large fun fair props including love swans, all crafted by Joby Carter, being wheeled in and out of the stage which, although stylish and pretty were frustratingly distracting.

On the contrary, Soave sia il vento, sung by Valentine, Rice and Roderick Williams was performed with tenderness and devotion; it is, I believe, the peak of the entire performance and for Williams, it is possibly, his highlight as there wasn’t any sign of a wise philosopher in his version of Don Alfonso, but a troubled carnival barker. He discusses the wager like a businessman as oppose to proving a philosophical point about women. However, Mary Ward as Despina managed to deliver with multiple roles as a cynical chambermaid, mad German doctor and baffling, yet hilarious rodeo marriage lawyer. She retained the presence she had as cheeky Papagena in Simon McBurney’s production of ‘The Magic flute’.

Randal Bills as Guglielmo was a good enough tenor and Valentine did her best to contain what she could for such a difficult role as Fiordiligi - the over-thinking sister. Yet, it was Rice who kept it together, not only for her improvisations of a keen and mischievous Dora Bella, but sustaining vocal vigour throughout.

Ryan Wigglesworth conducted a sturdy orchestra but at times, the music and voices wasn’t audible. Some surtitles were absent and, in some moments, they took a life of their own as translated by Jeremy Sams. McDermott is, indeed, entitled to chop and choose words as he sees fit yet the only problem is some meaningful comedic value goes missing which is needed for such a disturbing, dramatic and fast-moving opera.

Sadly, there wasn't any room for analysing the women’s infidelity or the dynamics of the character’s relationships. McDermott has produced a great spectacle of fun and games, but the production lacks depth and a certain ‘wow’ factor. A lot can be learnt from such an interesting opera as ‘Cosi fan tutte’ but by Act 2 the only thing one craves is candyfloss.