The English National Opera has launched a powerful revival of Handel's Partenope at the London Coliseum, dedicating this run to the late Sir Charles Mackerras on what would have been his 100th birthday. This production stands as a bold reassertion of the company's treasured tradition of Handel reinterpretations, even as the organisation faces contemporary challenges.
A Surrealist Take on Classical Comedy
Christopher Alden's production, first seen in 2008, transports the classical story into the brittle world of 1920s Parisian surrealism. The titular Partenope, supposedly the founder of modern Naples, becomes a sophisticated society hostess surrounded by emotionally adrift suitors. Her political storyline transforms into what is essentially a domestic comedy filled with mistaken identities and romantic entanglements.
The plot revolves around Partenope being pursued by three princely suitors, with additional complexity provided by Arsace's former lover Rosmira, who follows him while disguised as a man. Alden has returned to supervise this revival himself, ensuring a taut, allusive and sometimes wacky staging that maintains its edgy and erotic modernity.
Standout Performances in Demanding Roles
Nardus Williams delivers an extremely stylish performance in the updated title role, handling substantial singing demands with increasing confidence as the evening progresses. Her act two aria, where she declares her longing for Arsace, proved particularly compelling with its broad emotional lines.
The countertenor Hugh Cutting reached the production's emotional peak as Arsace during his act-three aria of renunciation, supported by captivating accompaniment from theorbo and strings. Katie Bray demonstrated infinite resourcefulness as the complicated Rosmira, while Jake Ingbar impressed both vocally and gymnastically as Armindo.
Completing the strong ensemble, Ru Charlesworth brought unflagging wit to the role of Emilio, now reimagined as a Man Ray-type photographer, and William Thomas seized his moments both visually and vocally as Ormonte.
Unexpected Conducting Change
The musical direction experienced an unexpected shift during the performance. Christian Curnyn, who conducted Partenope in both its 2008 debut and its 2017 revival, fell ill during the first interval. His assistant conductor William Cole took over for the final two acts with what observers noted as idiomatic assurance, ensuring the musical quality remained uncompromised.
This revival comes at a significant moment for English National Opera, following the recent departure of chief executive Jenny Mollica. Yet the company demonstrates it can still deliver high-class Handel productions that honour Mackerras's pioneering legacy while pushing creative boundaries.
Handel's Partenope continues at the London Coliseum until 6 December, offering audiences a chance to experience this distinctive blend of surrealist aesthetics and baroque music that proves surprisingly contemporary in its exploration of passion and identity.
