Caligula - English National Opera, 25 May (first night)
Benedict Andrews' production looks spectacular, but buried beneath the glitter and lipstick and guns and underpants, is a rather slight opera. Detlev Glanert's Caligula, based on Albert Camus' play of the same name, explores the psychology of tyranny in the form of the notorious Roman Emperor. Unfortunately, nothing much happens - fine in a play, fatal for opera.
The libretto (and I don't know how far Amanda Holden's translation is to blame) is banal and uneventful, and this sinks the music too. Glanert has an original voice and orchestrates skilfully, even if his influences (Berg, early Strauss) are over-prominent. But text lacks tension and strength of purpose, and although an excellent cast do their best, the opera fails to pack a dramatic punch. Andrews' flashy effects - a naked ghost-bride, masked spectators, showgirls, and so on - provide more eye candy than context or explanation.
Peter Coleman-Wright is not the most elegant of singers, but he proved an unrestrained and compelling presence in the title role. It was a shame that all he had to do was act mad, then madder. Christopher Ainslie as his servant Helicon and Carolyn Dobbin as the brave voice of defiance, Scipio, were the pick of the rest, but really everyone did well - the overall standard of performance was very high indeed. The ENO orchestra sounded superb under Ryan Wigglesworth too.
Having said all that, staging Caligula is a brave move from ENO. Nobody could say they've failed to do the opera justice, and the material is certainly better than some of the tosh they've put out recently (Two Boys I'm looking at you). With discounted stalls tickets readily available for £20, it's definitely worth going to see to make up your own mind.
Production photos (above) Johan Persson
Curtain call photos (below) intermezzo.typepad.com
"Unfortunately, nothing much happens - fine in a play, fatal for opera." Fascinating idea - can you elaborate?
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Intermezzo replies - opera is a dramatic medium, not a discursive one; it relies on the interplay of tension and release for its effect.
Posted by: capriccio blog | 01 June 2012 at 12:21 AM
How does one access the discounted £20 stall seats? I'd like to see it but can only find £60 stall seats. Thanks!
Posted by: sub opera | 02 June 2012 at 11:52 AM
The £20 offer has expired - suspect you will be able to pick up good stalls seats for £25 at tkts, lots of empty seats when I saw it last week
Posted by: Richard | 03 June 2012 at 09:36 PM
I couldn't cope with more than one act - such interminably dire music and hopelessly banal text! Thank god it was a freebie. Full marks to the cast though - for trying so hard...
Posted by: Kit | 07 June 2012 at 10:17 PM
"Unfortunately, nothing much happens - fine in a play, fatal for opera." After seeing a theatrical production of the Camus play decades ago, I'd say "nothing much happens" is fatal for a play too.
Posted by: sfmike | 10 June 2012 at 01:18 AM
Did we really see the same opera? This was an excellent evening. If you left in the interval you missed the bright theatricality of the 'shrine' to Caligula to which Helicon exhorts the public to 'roll-up, roll-up' and give their valuables - with a visual allusion to the mound of bouquets that grew outside Kensington Palace when Diana died, and some really entertaining music. There was a powerful build-up of full orchestral forces at the end of Act 2, in total contrast to a lovely ethereal unaccompanied off-stage choral piece. There was great variety in the composition, which I would like to hear again.
I agree that, having once established Caligula's nihilism and contempt, the piece spends too much time giving examples of his cruelty and sadistic game-playing - and as any opposition is weak and morally culpable too there is nowhere interesting to turn to for the dramatic tension (except in the very last duet with Caesonia). The naked Drusilla wandering about throughout gives us a bit of emotional refuge - indicating that Caligula did once feel love - much like Citizen Kane's 'Rosebud'. Ryan Wigglesworth conducted with a graceful precision - giving Peter Coleman-Wright his tricky entrances with a gentle left hand. The singing was strong throughout - Peter C-W gave a mock 'whew' at the curtain-call and mopped his brow - a tour-de-force from him. I may go again on last night this Thursday.
PS. ENO reduced the house, so I was happy to be 'up-graded' to a second-row dress circle seat for my upper-circle money.
Posted by: villagediva | 11 June 2012 at 10:42 AM