The stylish romanticism of Jean Cocteau’s cinema is spectacularly reflected in Netia Jones’s stunning new adaptation of Orphée, Philip Glass’ hauntingly beautiful opera. Orphée explores the relationship between the real and imagined, of love and loss, the unknowing, and perhaps most importantly, the pain that can be wrought by self-indulgence. The performance was an effective combination of film and theatre, brought to life by the impressive silhouette figures that evoked the original monochrome footage. Although perhaps over-busy at times, the staging and overall feeling of the piece was especially effective, transporting the audience into a mind-bending world of reflections leading to other realities. Unlike Glass’s other operas where there is a powerful force and weight to his music, in Orphée, there is a wonderful delicacy that supports the romantic elements of production and highlights the pain behind Cocteau’s work. The performances in this production were extraordinary, undoubtedly the best of ENO’s current season of four Orpheus myths. The sheer brilliance of Jennifer France’s performance as the seductive and enigmatic Princess is enough to mesmerise anyone.
The opera focuses on the spiralling poet Orphée (Nicholas Lester), whose obsession with his own popularity and pursuit of excitement leads him to obsess over his rival’s patron, the Princess. The rival, Cégeste (Anthony Gregory), starts a brawl and is subsequently killed, the Princess and her Chauffer, Heurtebise (Nicky Spence) intervene and make a plea for Orphée to help. He is led to the Princess’s home, and tries to follow her through the mirror she carries Cégeste through, but is unable to do so. From then on Orphée is obsessed with pursuing the Princess, and with investigating the other world, much to the distress of his wife Eurydice (Sarah Tynan). Orphée becomes estranged from his wife, who then dies; only then does he try and save her soul by travelling through his own reflection, to the world of the dead. After a series of trying ordeals, and a confession of love from the Princess for Orphée, she ensures that he will remember none of the events that have come to pass. Orphée and Eurydice wake up, as if from a dream and are once again in love, unaware of trials their relationship faced; it is a tale that emphasises that there is bliss to be found in ignorance.
The performances from the four main opera singers in this piece have been the most successful and convincing so far this season at ENO. Nicholas Lester’s depiction of Orphée reeks of pure narcissism, refusing to acknowledge the feelings of his wife, he displays all the dubious charisma one would expect from a self-absorbed artist. It is a brilliant contrast to Nicky Spence’s Heurtebise, whose charming selflessness emanates from his depiction, his growing love and affection towards Eurydice is tender and heart-warming. Despite having enjoyed Sarah Tynan’s performance in Gluck’s Orpheus and Eurydice, the purity she brought to the character of Eurydice in Orphée made this performance even more touching. Jennifer France’s earthshattering performance as the Princess was spectacular, her voice being commanding and visceral whilst also being utterly effortless. The few minutes alone between her and Orphée, and later her resolve to restore him to his former life, were heart-breaking, and were the highlights of this production.
The intention of the set designer Lizzie Clachan, was evidently to reflect a cinematic style by using screens and projections, as well as a mainly monochrome objects, in this way the audience was transported into Cocteau’s world of mirrors and mystery. Although the staging felt far too busy at times, especially in the first act, the overall feel of Cocteau’s work shone through, and this was a fine homage. The projections, designed by the director, Netia Jones, experimented with excerpts from the film itself that really heightened the drama. The projections and the lighting (designed by Lucy Carter) seamlessly interacted, making the entire auditorium feel like a nightmarish dreamland. One of the aspects of the performance that was less successful, were the costumes which were designed by the director. Although very reminiscent of Jean Cocteau’s film, I felt there was little else they added to the performance.
Glass’s opera is an inherently romantic and thought-provoking piece. His score complements the minimalistic nature of Cocteau’s film, the repetitive layers in the music aligning with the multiple layers of Cocteau’s creative process. As Netia Jones has mentioned, Orphée is ‘an opera of a film of a play of a poem of an opera, in which everything reflects on something else’. Philip Glass’s Orphée is a wonderful opera, and this performance pays homage to all the aspects of its creativity. Captivating and thoughtful, Orphée is a fitting end to the Orpheus series at ENO.
Komentar