Muhly's Marnie fails to find the drama of the novel

Par Dominic Lowe, 20 novembre 2017

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“Muhly’s Glass-inspired writing, beautiful in the right setting, is not at ease with his subject”

Critique faite à The London Coliseum, Londres, le 18 novembre 2017

Muhly, Marnie

English National Opera

Martyn Brabbins, Direction

Michael Mayer, Mise en scène

Julian Crouch, Décors

Arianne Phillips, Costumes

Sasha Cooke, Marnie

Daniel Okulitch, Mark Rutland

James Laing, Terry

Lesley Garrett, Mrs Rutland

Diana Montague, Lucy

Alasdair Elliott, Mr Strutt

Kathleen Wilkinson, Marnie's mother

Eleanor Dennis, Laura Fleet

Matthew Durkan, Malcolm Fleet

Darren Jeffery, Dr Roman

English National Opera Chorus

English National Opera Orchestra

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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

David Karlin, 1st November

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

*****

Comedy falls flat in ENO's season opening Cinderella

Mark Valencia, 27th September

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

**111

ENO gives Thea Musgrave's Mary, Queen of Scots a worthy performance

Nick Boston, 15th February

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

****1

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Dominic Lowe

Dominic Lowe recently completed a degree in Classics, and one of his great interests is the reception of Greece and Rome in opera. A regular opera-goer since his very early teens, he is particularly keen on the hidden operatic gems of the 19th century. He is largely based in the South of England.

Muhly's Marnie fails to find the drama of Winston Graham's novel