New world created in old music hall: Paul Bunyan at Wilton's

Por Roy Westbrook, 04 septiembre 2018

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“Elgan Llŷr Thomas was a charismatic Johnny Inkslinger”

Crítica hecha desde Wilton's Music Hall, Londres el 3 septiembre 2018

Britten, Paul Bunyan

English National Opera

Matthew Kofi Waldren, Dirección

Jamie Manton, Dirección de escena

Camilla Clarke, Diseño de escena, Diseño de vestuario

Elgan Llŷr Thomas, Johnny Inkslinger

Rowan Pierce, Tiny

William Morgan, Hot Biscuit Slim

Graeme Lauren, Sam Sharkey

Trevor Bowes, Ben Benny

Andrew Tinkler, Cross Crosshaulson

Paul Sheehan, Jen Jenson

Geraint Hylton, Pete Peterson

Adam Sullivan, Andy Anderson

Claire Pendleton, Fido

Ella Kirkpatrick, Moppet

Lydia Marchione, Poppet

David Newman, Western Union Boy

Robert Winslade Anderson, John Shears

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David Karlin, 16th February

Never has Brecht and Weill’s satire on the inhumanity of man to man been render with such utter darkness; Simon O’Neill heads up a superb cast.

*****

Taken for a ride: an energetic revival of Così fan tutte at ENO

Dominic Lowe, 6th February

English National Opera's revival of Phelim McDermott’s popular production is a blend of spectacle with some first-class singing, with Lucy Crowe emphasising her Mozartian credentials.

****1

Cocteau-esque camp: Alden’s Partenope returns to ENO

Mark Valencia, 20th November

Christopher Alden’s Olivier Award-winning production of Handel’s Partenope returns to the Coliseum, but it's the singing that earns the plaudits.

****1

Dead Man Walking at English National Opera: a superb execution

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Anneliese Miskimmon's ENO production of Jake Heggie and Terence McNally's tale of crime, repentance, compassion and redemption compels from start to finish.

*****

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Julia Burbach and her designer, Herbert Murauer, are defeated by the wide canyons of the Coliseum stage in their modern-dress Cinderella.

**111

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Musgrave's powerful depiction of a powerful woman at the mercy of male manipulation receives a strong staging from at ENO.

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Roy Westbrook

Roy Westbrook gained a diploma in music history at London University (Morley College) and was for some years the head of music day schools at Oxford University, where he also led music summer schools. After some years leading the University's business school he has returned to music teaching and writing, and recently took part in the Arts in Residence courses on Bruckner, Mahler and Bach He is co-author (with Terry Barfoot) of a history of opera, and has taught day schools on Sibelius in Oxford and elsewhere.