Things London did well in 2016

Now that we’re nearing the end of 2017, 2016 memories have started to take firmer shape.

Three productions had a profound impact on yours truly this year: ENO’s Akhnaten and ROH’s The Nose and Oedipe. Hard to miss that all of them are 20th century operas. Perhaps they just lend themselves a lot better to contemporary takes. Also, to apparently fresh takes, as none is particularly often performed. The thrill of the lesser spotted is its own reward.

Becoming who you are

Akhnaten the opera is, for me, a great example of an intelligent way of dealing with a subject (apparently) alien to our contemporary sensibilities. Our sources of understanding are 2000 years of Christianity, the Curse of the Pyramids, National Geographic aesthetics and Tutankhamen as pop culture symbol. The assertion of the self resonates through centuries.

Losing yourself

The Nose is comedy in its purest sense. Laughing – letting go of words – is letting go of rationality (= identity). We laugh at something when it becomes absurd and words to describe what is happening fail us. Laughing is also an act of confidence: identity is revealed as silly self importance.

Identity as burden

Oh, poor Oedipe, he is cursed to be who he is. The terracotta living wall is visceral and primordial, sun-infused and of slithery mud at the same time.

About dehggial

Mozart/Baroque loving red dragon

Posted on November 24, 2017, in 20th century, ENO, royal opera house and tagged , , , , . Bookmark the permalink. Leave a comment.

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