For instance, why, in an era of authenticity, is Berlioz's mid-19th century reconstruction used? Following the death of a young, popular poet, Cégeste (who may well represent Orphee's younger self), the older man becomes obsessed with the beautiful Princess, who is revealed to be Death. But Emma Rice, former artistic director of Shakespeare's Globe, has had no such brainwave here. Fluorescent paint and phosphorescent light, within Malcolm Rippeth's colour-bursting lighting design, Lez Brotherston's zany costumes and an erotic fly puppet all add to the sense of a rumbustious romp. Is genuinely touching. Eno orpheus in the underworld review movie. Emma Rice is a wonderful example of a 'marmite' director, whose productions are either greeted as startlingly original interventions that make you look at familiar works in a wholly new way, or heavy-handed interventions that wrench tone and story in unwelcome and undeserved, even inauthentic, directions. A series of tear-off backdrops, apeing sensationalist tabloid headlines, provides the scenic settings, emphasising the trashy, disposable nature of the characters' values and motivations. There are little wow moments and big wow moments.
With the help of the glamorous, vain and yet, bored gods, Orpheus takes on the impossible challenge of trying to win his new wife back. Alan Oke (Shepherd in Oedipe) takes on the role of John Styx and Sir Willard White (Porgy in Porgy and Bess) takes on the role of Jupiter. Director Emma Rice makes her ENO debut in a glitzy production that showcases her talents for theatrical spectacle and humour. What was less effective was the dancing. This Orpheus And Eurydice is the first of four Orpheus-themed operas running at the Coliseum this autumn, in which English National Opera is taking formidable artistic and financial risks. It also has a nice theatrical device that draws its inspiration from a famous photograph of a railway accident at a Paris station. And it's seldom wise to self-mockingly include the line: 'These operas can go on for ever' if yours is going to do just that. Whatever the individual result, ENO should be saluted for their courage at doing something different and very exciting. Whilst Orpheus faces a next to impossible task, you won't need the help of gods to book your tickets for Orpheus in the Underworld. But it is ultimately the unifying vision of director Oliver Mears which matters most in getting this bold re-imagining of Orpheus to gel theatrically. Tripadvisor performs checks on reviews. The object of his lustful attentions is Eurydice, played by soprano Jane Harrington as a kittenish celebrity housewife, whose itch for Aristaeus (Pluto in terrestrial disguise) she is only too keen for him to keep scratching. Having said that; this production by the Theatre de la Monnaie in Brussels, although slow by comparison, does have some fine singing. Orpheus in the Underworld - Jacques Offenbach directed by Emma Rice - English National Opera, London Traveller Reviews. Eurydice the Woman was sung with seductive melancholy by Marta Fontanals-Simmons; Claron McFadden delivered breathtaking coloratura as the Oracle of the Dead.
Sometimes this means work's atavistic energies slightly occluded by action onstage that tries to clarify the narrative origami. The overall effect is unsettlingly beautiful, evoking a shadowy world in which we're never quite sure what is real and what is merely dreamed. My full review of a production that was better designed and performed than it deserved to be is now up at The Arts Desk. Habersham and Sanders impress in Madison Opera "Orpheus in the Underworld. The effervescence and unbridled satire is there to be sure, and this is a totally enjoyable evening.
This was opera at its best. Orpheus in the Underworld is the second of ENO's four Orpheus operas this season; each composer takes the same basic myth. Lucia Lucas, a transgender woman singing as a baritone, contributes a briefly amusing cameo as a cabbie representing Public Opinion. Mary Bevan shines as the hapless but defiant Eurydice, her elfin charm carrying a very difficult role. It has been the focus of musical commentaries from Monteverdi's sublime 1607 opera L'Orfeo (one of the first known operas) to present-day pop songs and video games. Orpheus in the Underworld was written by Jacques Offenbach in 1858. My biggest problem with this is, is it really opera? At last, some good news at English National Opera. Eno orpheus in the underworld review article. Shudder-inducing stuff, but Eurydice's exploitation doesn't end there, for Jupiter has designs on her. And it is clear from the enthusiasm of the cast that they never tire of it either. Supported by George & Patti White and a syndicate of donors. They could not have wanted for better singers: soprano Mary Bevan, tenor Ed Lyon and assorted reliable old hands. The minimalist set complements the score, ably conducted here by Geoffrey Patterson.
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