ENO: Jack the Ripper: The Women of Whitechapel

ENO presents the world premiere of Iain Bell’s Jack the Ripper: The Women of Whitechapel with an all-star cast of iconic British singers

Opens Saturday 30 March at 7.30pm 

In one of the most anticipated operatic events of the year, the story of the most notorious serial killer in British history is told from the perspective of his victims. An extraordinary cast of some of the most distinguished female singers of the last 50 years of UK opera assemble to give voice to these women, so long overshadowed by the mystery surrounding the identity of their killer. ENO Artistic Director Daniel Kramer and Music Director Martyn Brabbins reunite after the success of War Requiem to deliver this vital new work.

Josephine Barstow, Susan Bullock, Lesley Garrett, Janis Kelly, Marie McLaughlin and Natalya Romaniw provide the unparalleled array of talent onstage, portraying a community of grinding hardship as it comes under terrifying attack. The 1888 Whitechapel dosshouse that unites the victims provides the setting for a look at the hypocrisy of a Victorian society that could discard working class women so readily.

Iain Bell is one of the UK’s most impressive young composers, mining British historical and literary subjects for his critically acclaimed operas. His first, A Harlot’s Progress, drew on the paintings of Hogarth; the second, A Christmas Carol, (5*, The Financial Times) on Dickens and the third, In Parenthesis, (5*, The Independent) on First World War poetry.

Librettist Emma Jenkins, whose relationship with ENO goes back to her time as a staff director with the company, collaborates with Bell for the second time after In Parenthesis (with David Antrobus). Her previous libretto, for Rhondda Rips it Up!, dealt with the Suffragette movement and was hailed as a ‘tremendous creation’ (5*, The Times).

Dame Josephine Barstow sings dosshouse proprietor Maud, a character created for the opera. With a history of performances at the world’s leading opera houses going back 50 years, her ENO credits include Salome‚ Tosca,  Violetta in La traviata‚ Leonore in Fidelio‚ and many more. She made an appearance at the National Theatre in 2017 in Stephen Sondheim’s Follies. She was made a Dame in 1995.

Internationally acclaimed baritone Alan Opie marks 50 years since his ENO debut, creating the role of the Pathologist. His previous performances with the company included Bartolo in The Barber of Seville in 2017 and Germont in La traviata in 2018. His performance in the title role of Verdi’s Falstaff earned him a nomination for the 1998 Olivier Award for Outstanding Achievement in Opera.

ENO Music Director Martyn Brabbins conducts, marking the second collaboration of the season with Artistic Director Daniel Kramer after the acclaimed War Requiem, and his third production of the season after September 2018’s Salome. A champion of contemporary music, he has conducted hundreds of premieres over his career, described as ‘the musician’s musician’ (The Guardian). His most recent world premiere for ENO was Nico Muhly’s Marnie in 2017.

Jack the Ripper: The Women of Whitechapel opens Saturday 30 March at 7.30pm for 6 performances: 30 March, 03, 05, 08, 10, and 12 April at 7.30pm

500 tickets for £20 or less are available for each performance. Tickets start from £12*.

Plus booking fee of £2.25. No booking fee in person

 

ENO: The Magic Flute

London Coliseum, Thursday 14 March 2019

There is nothing routine about this third revival of Simon McBurney’s approach to The Magic Flute. Not only does the production work as smoothly as ever, no small thing in itself given the complexity of the stage movement and video design, but the cast is fresh and appealing.

One of the benefits of a large cast is that it can bring on younger singers and ENO makes this into a real strength.

Tenor Rupert Charlesworth is a charming Tamino. He has a gaucheness in his manner which speaks of his youth and lack of experience, but also his genuine willingness to learn. His voice copes admirably with the long lines while his diction impresses. Lucy Crowe’s Pamina may be more familiar but is none the less making a welcome return to a part which she inhabits both vocally and physically.

Julia Bauer made her house debut as the Queen of the Night but it is a role she has sung frequently before as was obvious from the confidence with which she threw off Mozart’s coloratura. Brindley Sherratt’s Sarastro is new to this production though he has sung the role in an earlier version. He brings weight and authority to the part but also a genuine warmth and, at times, humour.

Thomas Oliemans returns as Papageno and is entirely at ease within the occasional eccentricities of the production, to say nothing of the obligatory set of steps he carries around.

The many silent actors are always aptly used, particularly the magnificent birds, and move alongside the chorus with commendable ease.

The pit is once again raised, which I think improves the acoustic, as well as allowing easy movement between the orchestra and the stage. Conductor Ben Gernon, making his house debut, lifted the score with commendable ease and fluency. He is certainly one to watch.

Sitting alongside the new Merry Widow the season at present seems to be running very well.