London Coliseum, Monday 11 February 2019

ENO and Philip Glass have become a powerful partnership, and in a time when audiences can be thin on the ground his works are immensely popular – and rightly so. Phelim McDermott’s immersive production of Akhnaten returned to the Coliseum last night in all its splendour and visual appeal.

When it first opened in 2016 the jugglers seemed like an interesting idea but possibly additional to the narrative. Seeing them again I was far more aware of the visual impact they make as a whole. Time and again they are like fountains, as if the Pharaoh is surrounding himself with light and life. The parallel with Louis XIV is subtly drawn and creates a stronger link with the ancient past that was at first obvious.

Musically this is as secure as ever, under Karen Kamensek’s deft work in the pit, controlling not only the large orchestra but the many choral groups scattered both on and off stage. Anthony Roth Costanzo returns as Akhnaten, his virile counter-tenor easily riding the large orchestral forces, but finding the gentle intimacy for his prayer at the end of Act Two. Rebecca Bottone returns as Queen Tye but Katie Stevenson is new to the role of Nefertiti, bringing a relaxed regality to her performance.

Tom Pye’s designs are as fine as I recall them to be and are persuasively lit by Gary James.

I wonder when we might see Einstein on the Beach?