Composer: Handel
Conductors: Christian Curnyn and William Cole
Director: Christopher Alden
Christopher Alden’s Partenope for ENO is a triumphant revival of his original 2008 ENO production of Handel’s comic opera. It’s a glorious show – achingly stylish and wonderfully witty, with a tremendous ensemble of singers.
Designers Andrew Lieberman and Jon Morrell take their inspiration from the first surrealists, André Breton, Salvador Dali and Man Ray. Lieberman’s set creates a stunning 1920s salon, its white interior dominated by a vast curved staircase. Deep in the work is news of a sea battle, simply but powerfully suggested by the sudden billowing of a floor-to-ceiling white curtain. The design is full of moments like this – subtle but never intrusive. Morrell’s costumes are a subtle complement. The young men, rivals for Partenope’s affections, sport exquisite pastel suits, while Partenope herself (Nardus Williams) is stunningly elegant in flowing silk trousers. And there are more visual treats in store when the sober, bearded Ormonte goes rogue, appearing in a colourful panniered frock.
The mysterious Emilio (Ru Charlesworth) appears before the curtain at the start, carrying camera equipment. He is, we begin to realise, an incarnation of Man Ray himself, his strange mask later copied by the louche guests seen dancing in an upstairs window. One of the joys of the production is the quiet business that goes on in the background during arias. At one stage, while one or other of the lovers is convulsed in agony, Emilio can be seen down a corridor, absorbed in developing his photos in a large sink.
The movement direction (originally by Claire Glaskin, now by revival movement director Elaine Brown) is perfect, the stylised moves central to the overall vision. The young men are forever posing at strange angles on the staircase, legs extended, toes pointed. There are great moments of physical comedy too: the hapless Armindo tumbling down stairs, or hanging from the bannisters; Emilio’s singing his lament about cruel fate while trying to escape from the loo in which he’s trapped. Even a set malfunction on the night is brilliantly styled out by Arsace and Partenope as the same loo door detaches itself as they sing their duet from either side of it.
The music itself is a delight from beginning to end, the singers wonderful. Ru Charlesworth, making their debut at ENO as Emilio, has an exquisite tenor. The two countertenors, Hugh Cutting as Arsace and Jake Ingbar as Armindo, both have beautiful voices, using different colouring to distinguish the rival lovers, Cutting’s excellent range allowing him to reach confidently for the surprisingly low notes of Handel’s score. Bass William Thomas reveals a strong talent for comedy. Mezzo-soprano Katie Bray is powerful as the would-be lover, Eurimene, but really comes into her own as she reveals herself as the lovelorn Rosmira. Her aria sung to Arsace from an upstairs balcony is truly moving.
But at the heart of this production is Nardus Williams as Partenope. Her voice is glorious, effortless in Handel’s rich ornamentation and with a suppleness that allows her to move from imperious to playfully flirtatious.
On this occasion, William Cole took over seamlessly as conductor when Christian Curnyn was taken ill after the first act. Timothy Walden (cello), Eligio Quinteiro (theorbo) and Christopher Bucknall (harpsichord) provide the continuo with vibrancy and colour.
A rich, witty treat.
Runs until 6 December 2025
The Reviews Hub Star Rating
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10
