London Coliseum, 6 June 2015

This was Edward Gardner’s last production as Music Director for ENO, though he returns next season for a new Tristan and Isolde, and it drew on all of the strengths he has shown during his time with the company. The orchestra was on exceptional form with a rich romantic sound throughout and the cutting intensity which is a particular quality of Tchaikovsky’s late score. Added to this was choral singing which was outstanding throughout, high quality soloists and a production that drew just a few boos at the end!

The conductor has worked closely with David Alden over the years and this new production was as challenging as we have come to expect. The easiest approach, I find, is to go with the flow. Don’t expect beds in bedrooms or bridges from which to commit suicide, and don’t be put off by furry animals appearing in the party scenes. After all, Hermann is insane, and while he may be less so at the start of the work than at the end, there is little doubt about his sanity. Gideon Davey’s deliberately ill-fitting set, painted in acerbic pastel colours, is lit throughout with a harsh cruelty by Wolfgang Goebbel to highlight the nightmare which surrounds Hermann.  The costumes drift across the centuries with little sense of connection except where they impinge on what is actually happening in Hermann’s mind. Peter Hoare is outstanding as Hermann. After a slightly shaky start the voice quickly settled and he produced ringing, often Wagnerian, tone with dramatic intensity which was entirely convincing. Giselle Allen’s Lisa is a lost soul, unsure how to react and buffeted by events around her. The claustrophobia of the settings aptly reflect the way the world closes in upon her to the point where she brutally kills herself rather than accept the on-going chaos. Vocally she is a fine foil to Hermann and grows in strength as the evening progresses.

Felicity Palmer’s voice does not reflect her age, and its stamina and subtlety are never in doubt. When on stage she is the centre of attention and effortlessly draws the focus towards herself.

The large cast of smaller parts are carefully individualised – some more effectively than others – but the insistence on so many smoking on stage, while possibly historically accurate, does raise inevitable concerns. The presentation of Pauline, a vocally strong Catherine Young, was simply confusing. The more naturalistic approach to Prince Yeletsky, a virile Nicholas Pallensen, was more pleasing.

This has been a superb season, running from Otello through The Pirates of Penzance to The Queen of Spades and the next season looks just as exciting and challenging.