Watch the trailer of this extraordinary production and see what the audience at the dress rehearsal thought of Detlev Glanerts production.
There are only 6 performances.
The opera runs until the 14th of June. Book your ticket now!
You can watch TV Historian Mary Beard talk about Caligula and watch exclusive rehearsal footage on our website.
TV Presenter Kirsten O’Brien has never been to the opera. Never! So, we’re on a mission to make sure she does.
She’s selected Benjamin Britten’s Billy Budd as her first opera. It’s got a lot going for it as she found out when she went behind the scenes at rehearsals.
Watch, enjoy and share!
The German composer Franz Lachner (just 10 years older than Wagner) said that the wind blew out at you the moment you opened the score of The Flying Dutchman; a percipient comment and even more obvious when orchestral rehearsals began in early April at Henry Wood Hall. In this case the salt seems particularly to lie in the vigorous and extended chromaticism of the string writing (though my colleagues in the brass sections might disagree!). Deconstruction at string sectionals helped accuracy without reducing the salinity and the gale forces blowing the ships onto the Norwegian coast are emphasized by the quick tempi chosen by Ed Gardner, our Music Director. The 1841 version of the opera (with minor adjustments) has been chosen for this production, (rather than the 1860) with Senta’s aria being sung (magnificently by Orla Boylan) in G minor as in the famous 1968 Klemperer recording with Anja Silja and the New Philharmonia Orchestra. (Wagner developed backwards, according to Klemperer). Whichever version is performed, in all sections of the orchestra, the notorious and ever present Wagnerian problems of fatigue are in the forefront of our minds – not least because there are to be no intervals in this production. In fact the storming speed at which much of the opera is played (especially the overture, the Steersman’s song and the Dutchman’s first aria) reduce the length of the work to under two and a quarter hours – down by 10 minutes, apparently, from last year’s Tim Albery production at the ROH.
courtesy of Guardian online (http://bit.ly/LWHwZj)
Damon Albarn, among other things the multi-talented Blur and Gorillaz frontman, visits the Guardian studio with a baroque ensemble to perform two songs from his opera Dr Dee. coming to ENO in June as part of the London 2012 Festival.
The group perform two tracks, O Spirit, Animate Us, in which the old John Dee prays to God along with his daughter, as well as Apple Carts.
Tickets for Dr Dee are available here: http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=1885
Aaaaaarghghghghg!
The opera starts with a scream. In the scream you’ll find the DNA of the entire piece; the angst, the drama, the passion, the frustration, the musical elements of the work. All in the scream.
We sometimes love to hate. Is that why characters like Caligula intrigue us? Who was he? Does absolute power corrupt? What would you do if you could do anything? If people around you would do your bidding?
Albert Camus’ play was the inspiration behind this dramatic, operatic retelling of the story by Detlev Glanert, directed by Benedict Andrews.
I saw the set today. It demands your attention. Even in the stillness of the Coliseum as the technical crew are on their breaks, it sits there. Foreboding. Scary, and quite exciting.
As for the drama that unfolds in front of the set, well. You can get a little taste of that from the video material we’ve filmed for you.
The word is that this is going to be an amazing production.
We’ve put together a few things to help you explore Caligula before you come along and see the opera:
Roland Taylor, Director of Digital and Participation
Caligula opens on May 25th at ENO. Benedict Andrew’s production of Detlev Glanert’s opera promises to be amazing.
But who was Caligula? Do we really know that much about him?
Mary Beard gives us a good insight into the person and character of Caligula in three short films.
Part one: Power and Assassination
Part two: Was Caligula misunderstood?
Part three: Caligula; the beginning…
We managed to catch up with Stuart Skelton on Saturday just before he went on stage to sing Eric in ‘The Flying Dutchman’. Stuart had just recently returned from the New York Metropolitan Opera where he wowed audiences with his performance as Siegmund in Wagner’s Die Walküre.
Come and see the future talent of tomorrow today!
If you’ve seen Elizabeth Llewellyn sing at ENO then you’ll know the calibre of singer that has been nurtured by ENO. Elizabeth started her ENO career by training on our Opera Works programme and has gone on to perform on the main stage at ENO in lead roles.
Now the next generation are ready to step-up to the mark. This year’s Opera Works students are preparing for their end of year showcase performances.
You have a chance to come and support them.
BOOK TICKETS TO SEE THE OPERA WORKS SHOWCASE
About Opera Works
ENO is committed to developing talent and runs Opera Works to train singers who have a sound vocal technique, professional potential and a strong commitment to developing a career in opera.
Opera Works is a unique and flexible training opportunity for talented opera singers who wish to embark on or develop a career singing opera, whatever their background or previous experience.
ENO Opera Works enables singers to develop their vocal and dramatic skills in a professional environment, with unprecedented access to professionals working in opera, insights into the world of professional opera and valuable opportunities for dialogue with key people within the Company. There are exclusive opportunities to engage with the work of ENO, including the chance to see ENO productions and get involved in the innovative learning and participation work of ENO Baylis. We believe this makes Opera Works unique and sets it apart from other courses that are available at music colleges or universities.
For those who take part on the course, there are rich rewards and incredible opportunities.
Find out more about supporting the work of English National Opera.
ENO is extending the boundaries of opera: presenting award winning work that is new, exciting and surprising.
Collaborating with creative talent from across the arts we stage more new productions and contemporary opera than any other UK opera company. We have a world class reputation for distinctive and highly theatrical productions which has resulted in many high profile artistic partnerships with opera houses and festivals around the world, including the Metropolitan Opera, New York and Bayerische Staatsoper, Munich.
We are committed to creating new audiences for opera through English language performances which are affordable and accessible to everyone. We provide unique opportunities and pathways for British singers, conductors, directors and designers.
ENO’s Artistic Director, John Berry said, ‘As we leave behind an artistically vibrant 2011, our sights are set on keeping ENO relevant and the exciting home for modern opera in London. Contemporary composers, outstanding international directors and British talent take the lead in what I am sure will be another absorbing and thought provoking year for the Company and our audience.’
Highlights of the forthcoming 12/13 season include:
ENO 2012/13 season in full:
The Magic Flute, Mozart, opens 13 September 2012
Julietta, Martinů, opens 17 September 2012
Julius Caesar, Handel, opens 1 October 2012
Don Giovanni, Mozart, opens 17 October 2012
The Pilgrim’s Progress, Vaughan Williams, opens 5 November 2012
Carmen, Bizet, opens 21 November 2012
The Mikado, Gilbert and Sullivan, opens 1 December 2012
La traviata, Verdi, opens 2 February 2013
Medea, Charpentier, opens 15 February 2013
The Barber of Seville, Rossini, opens 25 February 2013
Sunken Garden, Van der Aa, opens 12 April 2013
La bohème, Puccini, opens 29 April 2013
Wozzeck, Berg, opens 11 May 2013
The Perfect American, Glass, opens 1 June 2013
Death in Venice, Britten, opens 14 June 2013
English National Opera won two Olivier Awards at the 2012 ceremony, held at the Royal Opera House in London. The UK’s most prestigious theatre award has two categories for opera: Outstanding Achievement in Opera and Best New Opera.
ENO took the Outstanding Achievement in Opera award for ‘The Breadth and Diversity of the Artistic Programme’ and Best New Opera Production for its production of Castor and Pollux. Of a possible 8 nominations, ENO received 6 across both categories.
Castor and Pollux was ENO’s first ever production of a Rameau opera and the London debut of the provocative director Barrie Kosky. The production set Rameau’s 1737 opera into a timeless, placeless setting, which brought the music, singers and raw energy of the performances to the fore. The excellent cast included Allan Clayton and Roderick Williams as the legendary twins, and Sophie Bevan and Laura Tatulescu.
ENO’s Artistic Director John Berry said, ‘The Company is thrilled with our Olivier Award success. So many people, including the incredible ENO Company and the creative team and artists with whom we are so honoured to work with, have contributed to this achievement. Our Award for The Breadth and Diversity of the Artistic Programme recognises the important role ENO is currently playing in the international world of opera.’
English National Opera is a full time producing company with a world-class reputation for distinctive, contemporary and highly theatrical opera. At the heart of ENO’s work is a commitment to developing new audiences and nurturing British talent.
