ENO Responders 22/23

Alex Bridges
Andrew Lohmann
Arrije Mohamed
Brooke Bolcho
Cian Kinsella
Jacob Lewis
Leah Renz
Maisie Allen
Robert McGuire
Susannah Moody
Zara Bhayani

Alexander Russell
A night at the circus
***

Phillip Glass claims that he was drawn to the Pharaoh Akhnaten as the subject of the final part of his portrait trilogy as he is widely considered as ‘the first monotheist’. This claim is perhaps debatable, but from the beginning it is clear that Akhnaten is less a historical exploration and instead a hallucinatory vision of obsession, transgression and ultimately rejection. The issue of covering 17 years of the tumultuous and fractured rule of the Pharaoh Akhnaten in just three acts is one that poses major challenges, and Glass confronts this in typically cryptic fashion, the plot is minimal, we are mostly guided by the occasional announcements from the narratorial scribe whilst the action from the main parties is carried out in slow motion vignettes and circus performance. All this is powered by the pulsing and hypnotising score, Akhnaten is a masterpiece in minimalist composition but by its very nature it is repetitive, the score remaining on repeated notes and triads and in doing so creates a powerful intensity which underlines the occasion and ceremony of the opera. The effect is hypnotising, but is hypnotising a compliment? Whilst the sense of high drama is created, what is lacking is a sense of grand emotion from the music. The challenge then for any production is how to stimulate a sense of dynamism and passion on the stage when it seems to be deliberately missing from the score.

The response to this stillness and space on stage is loudness from a large cast of chorus, acrobats and circus performers who combine on the large scaffold to create a wall of movement whilst the principal characters move in a stilted slow motion. The effect created is one of fervent ritual however for all the grandeur it seems to fail in creating any kind of emotion for the audience. This is style over substance and there is only so long before one becomes a little desperate for any kind of excitement. The key offender during the evening was the production’s signature motif of juggling. Apparently in Ancient Egypt this was seen as a metaphor for the solar objects and the relationship between life and death, but this metaphor is lost on stage, instead an impression of chaos is created whenever the jugglers are in sight which overwhelms the subtler parts of the score.

Whilst the much needed sense of drama was still lacking in the second act, we are finally given a sense of stillness on stage in the duet between Akhnaten and Nefertiti and the subsequent Hymn to the Sun and these are the clear high points of the night. Anthony Roth Costanzo as Akhnaten and Chrystal E Williams as Nefertiti shone in their romantic and evocative duet. His striking countertenor paired hauntingly with her mezzo-soprano and this was successful in creating the boundary defying unity they both shared whilst also questioning traditional concepts of gender. Akhnaten himself is seen as a transgressive figure in history and Costanzo captures this well, his counter-tenor constantly separating him from the priests and presenting him as an enthralling but unknowable figure. His Hymn to the Sun aria is truly beautiful. Glass used original documents, psalms and texts from Egypt as the source for the libretto and this is a masterstroke. Whilst it adds to a certain arcane mystery, particularly when they are in their original language, this conveys a breath-taking joy and with Glass’s minimalism constantly reaffirms the gravity and intensity of the opera.

This is an eccentric an ambitious production, which will no doubt bring in crowds due to its spectacular staging. Whilst the circus inspired production was excessive, the vocal performances were sublime and ultimately the production must be praised for creating a joyous and unique celebration of transgression and individuality.

Alex Bridges
Akhnaten: Uneven Genius
****

Philip Glass’s work is often described as minimalist, making its staging uniquely interesting – how best should one pull out musical complexities whilst maintaining some sense of plot within a framework that offers no helping hand with this task? Phelim McDermott, directing Glass’s Akhnaten at the ENO, predominantly goes big: maximalist staging, a thronging ensemble and a troupe of jugglers to accompany the action. Sometimes, this leads to sheer clutter, but more often it comes together to make the production truly mesmerising.

Glass’s score is beautifully layered from the start, repeating and developing the same motif to reach mighty heights: it was this cumulative effect that McDermott pursues in his production design, and so often reaches. Bruno Poet’s haunting lighting lays the groundwork, as lab-coated doctors dissect a mummified Amenhotep while the Scribe (Zachary James) gives a fearsome recitation of Glass’s prose ‘libretto’ from the corner, blending its natural poetry perfectly with the rippling score. Once the deceased Pharoah has been ritually mummified, the production goes all out, revealing Tom Pye’s three-layered set design, filled largely with performers from the Gandini Juggling Company. While at times this threatens to become somewhat of a gimmick, it does an excellent job of emphasising the ritual of the whole performance, following Karen Kamensek’s lithe, fluid direction of the orchestra, repeating the same themes with subtle yet expressive variations.

Although jugglers throwing clubs like arrows around a stony High Priest and ensemble members with impressive wings gives the production a captivating energy, the performance is most effective when combined with the considerable vocal talent of the cast. Grammy-winning countertenor Anthony Roth Costanzo delivers a superb Akhnaten, with a voice as pure as a bell and just as resonant. The countertenor role, a relative rarity in the operatic world, is difficult to get right, but Roth Costanzo, with his wonderfully controlled vocal modulation, shows us exactly how it’s done. His physical presence is equally imposing, perfectly channelling Glass’s vision of single-minded dedication to a higher (in this case religious) cause, and emerging on stage naked with seemingly no consciousness of the worldly events surrounding him. Haegee Lee’s Queen Tye is a similarly strong performer, with a beautiful, silvered soprano that not only complements Akhnaten’s when in duet with him but stands out in its own right. Strong yet with a finely honed edge, her vocal performance is sublime, while her wordless upper register staccato in particular would give Mozart’s Queen of the Night a run for her money. Beside these, Nefertiti (Chrystal E. Williams) is perhaps not as immediately impressive, but the nicely textured tones of her mezzo-soprano come into their own in her love duet with Akhnaten.

Despite the myriad strengths of the production, however, McDermott cannot eliminate a sense of uneven energy. Akhnaten’s Hymn to the Sun, for instance, threatens to topple from stately, abstracted devotion to tedium. The repetitive nature of the score, so strong in other places, descends into monotony, and while elsewhere McDermott alleviates this with a keen eye to the theatricality of the vignettes that make up the opera, when he attempts to pare back his staging to match the music’s nuanced simplicity, the result is reductive rather than productive. One begins to tire of Akhnaten’s incremental steps when unaccompanied by nothing other than the orchestra, which at times lost some of the vivacity of its best moments, while the onstage ensemble sometimes went from commanding the space to cluttering it. McDermott brings out the subtle increments of action that make the opera such a pleasure, yet occasionally cannot help but to fall into the static – a pity in this mostly electrifying performance.

Cian Kinsella
If it’s not broke, don’t fix it
****

For his sold-out revival of Philip Glass’s Akhnaten at London’s Coliseum, director Phelim McDermott discards the old theatrical gods: dialogue, narrative and characterisation. With expert juggling provided by theatre company Improbable, McDermott hails geometry as the sole deity ruling his stage.

Almost every movement and every word is symbolic, rather than literal. The opera, performed mostly in ancient languages, features no surtitles, and the little English we are offered barely demystifies the plot. Even if you could decode the various tongues used by the libretto – or had eaten enough carrots to read the programme’s translation of it during the show – you would realise quickly that its prayers and incantations are deployed in the interest of atmosphere rather than driving forward the storyline.

Rituals and codes sit at the heart of McDermott’s Akhnaten. During the prelude, symbols resembling hieroglyphs are projected onto the stage. Act 1 consists of actual rituals: Amenhotep III’s funeral and Akhnaten’s coronation. These ceremonies invite us to imagine the affairs of the following acts as rituals too, such as the dismissal of the old polytheistic religion and Akhnaten’s murder.

We swiftly realise that our job is to engage with the rich splendour presented to both eyes and ears. With Karen Kamensek conducting, the mesmerising repetition of Glass’s music is captivating, and its dynamic and temporal variations are striking. These same variations portend the social upheaval which will be brought to ancient Egypt by the incoming pharaoh.

Countertenor Anthony Roth Costanzo steals the show as the eponymous monarch. His clarity of voice and emotion are sublime. We first meet Akhnaten nude, awkwardly but dutifully assuming the royal mantle; the now confident pharaoh’s duet with his wife, Nefertiti, in Act 2 presents a king who has become accustomed to power, both sexually and as a ruler. Despite many changes of attitude throughout the opera, Costanzo preserves Akhnaten’s gentleness, capturing Glass’s perception that Akhnaten ‘changed his (and our) world through the force of his ideas and not through the force of arms.’ Even though the opera – like Akhnaten’s religion – gives almost all of its attention to one figure, Chrystal E. Williams and Haegee Lee sing excellently as Nefertiti and Queen Tye, respectively.

McDermott’s stage is an ecosystem of elements working together to produce resplendent live tapestries. In Act 1, it is in three tiers, with rows of chorus members occupying each rung, resembling Egyptian wall paintings. However, the tiers are also designed like scaffolding, and there is disunity in the costuming. This muddled aesthetic makes it hard to interpret the production’s overarching message. If it is an excavation site, the enlightenment mindset of searching for grand narratives and burrowing ever further into the past is underscored. If it is a museum, as suggested by Jolyon Loy’s Victorian-style suit as Aye, the burden of history inevitably leads to the present and weighs upon us.

It is McDermott’s and choreographer Sean Gandini’s attention to detail that defines Akhnaten’s best moments and its worst. Ubiquitous Sun symbolism ranges from handheld balls juggled about the stage to monolithic orbs which command the attention of player and spectator alike. The painstaking attention given to Akhnaten’s slow motion murder in Act 3 is heart wrenching when his family are being torn away from him – but his actual death loses dramatic momentum and veers into parody. It looks as though it is trying to replicate Camuccini’s famous painting, The Death of Julius Caesar, but ends up looking more like The Matrix. Perhaps it is rather fitting though: both The Matrix and Akhnaten are obsessively fixated on codes and patterns.

Andrew Lohmann
Open are the double doors of the Coliseum
*****

The curtain for ENO’s production of Akhnaten is a sight to behold. Painted to look like a single sheet of copper mottled with great ripples and clouds of verdigris, it serves as an apt analogy for the music of Phillip Glass’ third opera: beauty and depth from the simplest of base materials.

That curtain is probably the least interesting part of this spectacular production. From the overture to the end Grammy winning conductor Karen Kamensek remains steady and certain. The orchestra rises and falls through the music fluidly, soaring to climaxes and crashing down again to pathos effortlessly. I adore the music of Akhnaten, each scene begins with the gentle ripples of arpeggios which gradually expand and layer over one another until before long they form a riptide, dragging one down into Glass’ mesmeric musical vortex. When the curtain dropped on Act III I felt like a blank slate, as if emerging from hypnosis back to reality.

Watching Akhnaten for the first time does unfortunately need a bit of homework to have the faintest clue what is happening. Unfamiliar audience members may be lost in the surtitle free mixed language libretto and director Phelim McDermott’s metaphorical stage work. Fortunately the plot can fit on a napkin so this is not an onerous task. The opera is crafted to be a wonderful ‘strange loop’. In the beginning there is a funeral and coronation, the plot progresses and we rise and roll through layers of complexity, building to finale. But for that final release we are back with the same music, near same staging in the same funeral and coronation rites. Akhnaten has drowned in the cycle of time he tried to break.

Visually the stage setting is world class, everything has a grand ‘Mad Max on the Nile’ vibe, the stage has height and depth and there’s always something to look at, at times I felt I couldn’t possibly keep up with everything on stage. That includes a troupe of jugglers, which at first looks as bizarre as it sounds, but by the end of the first act the energy they bring feels indispensable. Designer Kevin Pollard has done great work with the gorgeous and detailed costumes for the principals and chorus, each embedded with the same depth of allegory which runs throughout out the staging. The jugglers are awkwardly dressed in cracked earth pattern morph suits which break the immersion.

Remarkable performances throughout, Scribe Zachary James brings a commanding presence and emotion which makes the spoken role as eye catching as the singing. Haegee Lee as Queen Tye was a joy, every note is crystal clear euphony and her stage presence is captivating. Nefertiti (Chrystal E. Williams) managed the dusky contralto range of the part with panache, though her stage kiss with Akhnaten is potentially the most awkward thing I have ever seen. Anthony Roth Constanzo first appears on stage as a neonatal pharaoh, silent and wearing nothing but an auric forehead smear and a sketched on six pack until his coronation completes. The real magic happens when Roth Constanzo sings, he seems to defy what the male range can do. His upper register keeps pace with the women in pitch and volume but has an ineffable identity to it. Even with all singers on the same notes, Roth Constanzo stands clear.

Before Ms. Kamensek’s baton stopped the audience erupted into raucous applause. A full standing ovation is a rare sight and this was ENO’s first this season, hopefully it will herald the continued reign of Phillip Glass at the ENO.

Zara Bhayani
A symphony for voices and instruments
****

In 2023, what does the term ‘opera’ mean? What qualifies as ‘opera’? Is that very question problematic? Phelim McDermott’s take on ‘Akhnaten’ raises many such discussions, and that’s exactly why I’m unable to dislike it. Perhaps all of that is irrelevant, considering it has successfully hypnotised us all.

The last of Phillip Glass’ three ‘portrait’ operas returns for its second ENO revival, following the work’s UK premiere with the company in 1985. McDermott’s production was first performed at the Coliseum in 2016, consistently selling out houses in London, LA and New York since.

The idea of Hebrew, Egyptian and Akkadian (with no surtitles) was initially intimidating, but this work definitely remains accessible to all. Maybe ‘simulation’ is more of a fitting label: a sensory feast that temporarily removes you from reality. The combination of extravagant choreography and a meditative score made for a mesmerising experience.

The main topic of interval conversation was, as so eloquently put, ‘the metaphysical significance of balls’ – perhaps an element of this production that is up for interpretation. Juggling isn’t the first thing that I would jump to if I had to direct an operatic biography of an Egyptian pharaoh, but it was honestly incredible. Feeding into the metaphor of round objects representing the sun helped to join the dots. This became clearer as they grew into yoga balls, and eventually a huge glowing globe. Either way, it’s something to keep you entertained if you lose track of what’s going on.

None of the other ‘Get Ready with Me’ videos I’ve seen start from stark naked – Akhnaten definitely would have violated a fair few TikTok community guidelines. However, when the coronation costume’s extended formation was complete, it was nothing short of spectacular. Anthony Roth Costanzo’s graceful androgyny fit the role perfectly, striking a careful balance between power and vulnerability. The subtle detail of a printed female body below his sheer robes reinforced this further. Blending effortlessly with the sopranos, the clarity and resonance of Costanzo’s voice made the London Coliseum feel like an empty cathedral.

American mezzo Chrystal E. Williams performed the role of Nefertiti with elegance and assurance. The act 2 duet was utterly beautiful; it’s a shame that the combination of her blue hair and red dress could only make me think of ‘Thing 1’ (or ‘Thing 2’, depending on who you ask).

The galaxy-themed backdrop and empty stage to accompany the overture worked well. It was almost like a 12-minute palette-cleanser from real life, leaving each member of the audience feeling like an empty canvas for what was to come. The relentlessness of the music left me craving moments of silence – a squeaky sliding door in the first act got in the way of this. Conductor Karen Kamensek conveyed a satisfying sense of ebb and flow through the score, despite the occasional issues with balance. Without a conventional libretto, the voices were largely treated like instruments within the texture, giving the entire performance somewhat of a symphonic feel. Of course, this is largely thanks to the consistency of the ENO chorus, who adapted well to the atmosphere of each tableau. Their powerful cohesiveness in the first act was matched by an ethereal off-stage contribution later in the work.

If you can manage to get a ticket, go and see the ENO’s Akhnaten – it is an absolute experience. And if it’s not your cup of tea, turn it into a drinking game and take a shot each time the Scribe says ‘horizon’.

Robert McGuire
ENO’s Award Winning Akhnaten Returns in Shining Splendour
*****

Akhnaten stands naked onstage for 20 minutes without singing a single word. We are introduced to a human being, vulnerable to the elements, before he is adorned with the gilded regalia of the pharaoh. Stripped flesh and bone, Akhnaten descends the stairs into the realm of Egyptian religion-cum-politics. He almost passively accepts his crown, waiting to ascend the stairs, back to the sun, creating the production’s iconic visual motif—Akhnaten in flowing, sheer fabric, a crown of gold leaf, effortfully climbing floating stairs towards the imposing orange sun that saturates the stage. Conventional wisdom warns not to stare into the sun, but I cannot look away.

Egyptian hieroglyphics come alive in Phelim McDermott’s eye-popping production. Priests in imposing animal headdresses and flowing robes share a stage with modern-day archaeologists while Egyptian royalty glide across the stage in impractically large, gilded garments. Figures flow across the stage slowly and ceremonially. This otherwise decelerated world is contrasted by a chorus of jugglers, throwing spheres into the air in often counter-rhythmic routines that add texture and raise the stakes. The whole world feels as if it’s suspended, waiting to drop at any moment, as if an ancient clay jar that once shattered will collect sand waiting to be uncovered centuries later.

Akhnaten is the final instalment in Philip Glass’ Portrait Trilogy, a series of biopic operas on men who altered the course of history. Einstein changed science. Gandhi revolutionised politics. Akhenaten proves a satisfying, if unexpected, conclusion to the cycle. Akhenaten, whom archaeologists assert to be the first “individual” in history, is believed to have created the world’s first monotheistic religion, in praise of Aten, the sun.

Anthony Roth Costanza’s arrestingly powerful countertenor proves an intoxicating Akhnaten. In this world of chaos and moving parts, it seems almost paradoxical that Costanza commands so much attention. Indeed, Costanza is at his best when he stands alone. After establishing a world of diligent ceremony and all-powerful tradition, Costanza expertly breaks convention trading the bellowing basses of the priests for an inviting, enlightening falsetto and the anxious power plays of the court for a static, prayerful leadership.

Glass’s measured meter and meandering modulations mould a mesmerising mediation of music. The score’s arpeggios ascend in rapid succession, reaching as if rays almost straining to reach the earth. Karen Kamensek’s even tempered conducting guides a steady hand through the score. Radical societal changes, political ambitions, and, literally, the jugglers’ flying orbs feel like gasps, held over Kamensek’s unshakeable orchestra holding a balanced beat throughout.

The Scribe (Zachary James) attempts urgency in an effectively commanding, authoritative bass, narrating proclamations from the Book of the Dead. Kamensek’s orchestra and Costanza’s ephemeral countertenor refuse to budge—the spiritual world rules this production.

Nefertiti (Chrystal E Williams) and Queen Tye (Haegee Lee) complete Akhnaten to form a trio of soprano-range voices. The three weave in and out of each other. At times it is not clear where one voice begins and the other ends. It is effortless and utterly perfect.

Maisie Allen
The Sun Shines on ENO with this astounding revival
****

Sonic repetition reverberates around the London Coliseum as ENO’s collaborative revival of Philip Glass’ Akhnaten opens to a sold-out house. As holographs of hieroglyphics appear and disappear against the curtain, aN ensemble of jugglers sit astride chairs on the industrial set, moving slowly in time with the endless loops from the string section; the audience is in a trance.

As the death of Ahknaten’s predecessor sets the operatic tension, the imposing baritone of Zachary James’ as the Scribe descends onto the crowd with a declarative presence, reminiscent of an academic. The chorus shortly follow, adorned with steampunk costumes, all moving as a pack against the metal railings as the doctors below carry out a mummified body in a slow ritual that accepts all the conventional understandings of the ancient Egyptians, but with costume designer Kevin Pollard’s Tim Burton-esque spin that adds layers of ominous foreboding to Ahknaten’s coronation.

In slow-motion, the countertenor Anthony Roth Costanzo, who has won a Grammy for this performance previously, descends down his regal stairs fully nude, laying the new pharaoh bare for all to see as his falsetto emphasises the vulnerability of this largely unknown historical figure. Joined by his mother Queen Tye, performed by the soft Haegee Lee, who deftly moves between a maternal protectiveness and a loyal subject to her son, Costanzo’s Ahknaten holds the audience on the edge of their seats with each sharp intake of breath and each expelling of notes. His naked body stands still on stage as the chorus slowly dress him in his new finery, clothes that allude to a blurring of binaries, similar to the way Costanzo’s delicate falsetto contradicts the stoicism of Ahknaten’s steadfast beliefs.

The orchestra move as one united force under Glass expert Karen Kamensek’s watchful conduction – there is no room for pause in this epic score that is marked by trademark Glass repetition. As the chorus move in an almost-religious state, the scene transitions hypnotise its audience too, with focus split across the stage. While there is an element of too much in this Improbable production, under the eye of set designer Tom Pye and revival lighting designer Gary James, the pairing of a minimalist set with maximalist clothing creates a visually astounding contrast that matches the phenomenal vocal range of the principals at hand.

A special mention goes to Chrystal E Williams’ stunning soprano as Queen Nefertiti, gorgeously clad in jewelled tones that ground the smoothness of her timbre. Her love duet with Costanzo is sensually rich, with the pair moving in slow-motion across the stage crossing paths almost becoming entangled in their long flowing red robes, and hint at Nefertiti’s growing pregnancy, and their commitment to establishing their own monotheistic religion around the sun. For a relationship that is little known, Phelim McDermott’s movement direction perfectly matches the soulful contrast in the performers’ vocal ranges, which makes up for an occasional lack of chemistry as Costanza sometimes appears distant from his sultry on-stage wife.

However, despite stand-out performances from these principals, it is Nefertiti and Ahknaten’s daughters that provide the vocally astounding climax, as mezzo-soprano voices project the horror and terror of Akhnaten’s eventual murder from his furious subjects and create the emotional depth that the visuals of this production did sometimes lack. Given that the plot is minimal, and the libretto sung entirely in Egyptian and in one case, Hebrew, it is understandable, that McDermott’s direction revolves around a strong visual presence to engage its audience, and beautifully done it was.

Leah Renz
****

Hieroglyphs materialise on a marbled backdrop as the orchestra plays the first of many A-minor ostinatos. The music – minimal in modulations and emotion – builds patterns of undulating sound, lulling the mind into an unwilling trance. The London Coliseum is packed; it is the beginning of Philip Glass’s Akhnaten, ENO’s second revival of Phelim McDermott’s sell-out 2016 production.

The hypnotic, heavy-toned score sets a libretto largely consisting of Egyptian, Hebrew, and Akkadian and provides the backdrop for a bustling opening tableau. Three tiers of industrial scaffolding – complete with steel beams, plastic curtains, and bare bulbs – are crowded with masked dancers, worshipping priests and a ball-clutching chorus (more on the balls later). The effect is intentionally overwhelming; the mingling of ancient and modern aesthetics provides a fun twist at the end – but for now it adds to the visual disorientation.

It is with some relief then, after a crescendoing climax, that the dancers disappear and Akhnaten (Glass spells it without the extra ‘e’) is left to make his magnificent entrance. The eponymous hero (Anthony Roth Costanzo) emerges as a naked fledgling, equal parts nervous and noble, and flex-footedly descends the stairs to his coronation. He is clothed in a dress with shoulder pads that look like golden brains but transpire to be a cluster of baby heads. Later the Pharoah shall ascend them again to announce his heretic worship – not of the traditional pantheon of Egyptian gods – but of the singular Aten, the sun.

Percussion and rhythmic choral cries conjure the otherworldly authoritarianism of pharaonic rule. Worshipfully slow movement and the sombre intonations of Zachary James, the scribe-narrator, further imbue the spectacle with the veneer of ancient myth.

Not much is known of this ancient Pharoah, but Glass is happy to play fast and loose with the source material. Inspired by Immanuel Velikovsky’s speculative biography Oedipus and Akhnaton, Akhnaten is the third opera in his series on world-changing thinkers (the others are Einstein and Ghandi). Costuming and making Akhenaten a countertenor – radical when first introduced – emphasise the ancient Pharaoh’s fabled genderfluidity.

Costanzo’s singing is clear and accurate; his is an excellent performance of a vocally challenging role. Akhenaten’s mother, Queen Tye (Haegee Lee) is also fantastic; her soprano soars impressively over and between Constanzo’s countertenor and Chrystal E. Williams (Nefertiti, Akhenaten’s wife) alto. The music was at its best when the voices of this sublime trio masterfully blended over the low strings and brass of the orchestra, conducted by Glass-expert Karen Kamensek.

The last few decades have seen a rise in falsetto roles, most recently the Boy in George Benjamin’s Written on Skin (2012). The countertenor is less unusual now than it was in 1983; the strangest part of Akhnaten now, in Phelim McDermott’s production, is the near-incessant presence of juggling.

The inclusion is justified by a picture on a tomb mural depicting baton-throwing Egyptians, and, of course, the solar-shaped nature of balls. The effect is stress-inducing and adds another layer of drama to the unfolding heresy. Choreographed by Sean Gandini, the juggling skills are as impressive as they are difficult; the ball is dropped a few times but the effect – of repetitive ritual – survives.

Akhnaten and Nefertiti’s love duet was well performed, but it is Akhnaten’s assassination which is the most moving moment of the opera. The wonderful ENO chorus chant menacingly as a slow-motion wave of movement reaches and curls itself across the stage. Finally, we see the emotion which has been absent from the opera so far.

Luckily for ENO, the cult of Philip Glass is far more successful than that of the eponymous Pharaoh.

Jacob Lewis
Mesmeric minimalist monument moves masses
****

Philip Glass’s Akhnaten takes to the stage for another run, performed last by the ENO in 2019 (and 2016 before that). This minimalist monument to the mysterious 17-year reign of Akhenaten (spelt differently in Glass’ title) traces the rise and fall of the pharaoh in his attempt to forge a new religion. The resulting drama is pure spectacle in the best possible sense of the word.

Anthony Roth Costanzo sings Akhnaten as if he was born for the role. He enters nude, descending from a flight of stairs, and sings with inhuman grace; on stage, he stares straight forward, unwavering, as if possessed by ambition and divine intuition. His costume adds to this (Kevin Pollard); extravagant robes characterise his regal posture. His distinctive countertenor is perfect for his trio sections with Nefertiti (Chrystal E. Williams) and Queen Tye (Haegee Lee), who both sang exceptionally well, adding the unique sound of his high male voice to theirs. Lee, in particular, made Glass’s vocal lines feel powerful and driven, helping the mesmerising score come to life. Zachary James, playing a scribe, was a dominant and intense presence on stage. Despite having a part entirely in spoken word, his forceful delivery drew us into the story like a ringmaster. This scribe might not be the pharaoh, but this was his circus. The rest of the cast was solid; however, Aye (Jolyon Loy) was entirely drowned by the chorus and orchestra during his climatic counterpoint in the first act.

The set design (Tom Pye) is equally spectacular, a three-story affair allowing the all-singing, all-dancing production to take its course on many layers. Credit is also due to Murray Hipkin and Olivia Clarke for the excellent choreography throughout. Like Glass’s hypnotic score, the cast slowly places themselves around the stage, falling neatly into place. This production pushes the limits on how many things can happen on stage to an absolute limit. It would be easy to get distracted and miss a vital piece of action if the pacing wasn’t, intentionally, glacial.

The skills ensemble brought something magical to the show; the theme of juggling balls taken from its earliest depiction in Tomb 15 of Egypt’s Beni Hasan cemetery complex is a stroke of genius. Not only do round objects closely symbolise the sun, especially given their rise and fall, but alongside Akhnaten’s struggle for power, they have their own rise and fall. The orbs get bigger as the opera goes on. At the height of the drama, the stage is taken up by a giant sun sphere surrounded by large beachball-sized orbs being passed around by the skills ensemble. Furthermore, to symbolise Akhnaten’s defeat, the jugglers drop their juggling balls. It is a testament to the skills ensemble that this rarely happens in the rest of the production. To represent bows and arrows in conflict, juggling clubs are thrown just past the noses of our cast. They do exceptionally well to neither get hit nor flinch at this display. The chorus, who were otherwise fabulous, were also given orbs but were considerably less enthusiastic than the specialists.

The ENO house orchestra made fantastic work of the score. The violas, despite being at the receiving end of many a joke, cellos and double basses helmed the string section with the violins absent. Glass did not want to crowd the orchestra’s upper voice, instead relying on the winds for this job. Karen Kamensek, who specialises in conducting Glass, was fantastic at maintaining the mesmerising effect that his music entails. The string section’s resilience through such intense work particularly impressed me, remaining strong till the curtain call.

Arrije Mohamed
Alluring Akhnaten
****
Philip Glass’ 1983 opera, Akhnaten is captivating, cunning and mysterious. The rise and fall of Egyptian pharaoh, Akhnaten is known for his shift in religion from worshiping two gods to just one- Aten (otherwise known as the sun).

The opera opens with a lifeless Amenhotep III – Akhnatens father-being dissected. We are greeted with an astonishing entrance by the scribe whose voice projection was outstandingly loud. Zachary James who plays the scribe had on a luscious golden robe bedazzled in jewels and really set the tone for what was coming, truly a man made for showbiz with a incredible voice for his spoken role. Costume designer, Kevin Pollard styled the outfits to perfection and I must say I have never seen an operatic production with better costumes. Anthony Roth Costanzo who plays Akhnaten is seen in a luxurious golden outfit with jewels that were blinding. The costume looked extremely heavy and expensive with a touch of green feathers towards the hemline almost identical to a peacock’s. Costanzo was seen going from his birthday suit to the most opulent costumes fit for a king with diamonds reflecting off every angle possible.

If unlike me the costumes are the last thing on your check list of what makes a good opera you will certainly not be disappointed with the orchestra. Absolutely amazing music, the slow mo factor made everything seem like the seconds were longer and you could really soak up the moments. The drummers were a wonderful touch and were present throughout the opera, a lovely representation of the past as drums were widely used in Egypt from as long as 5500 BC. The chimes being used throughout were extremely nostalgic and reminded me of church bells ringing. Costanzo and James were the highlight of the opera. Not only do they both have incredible voice projection their pitches and tones of voice were breath-taking; not often does a man’s voice in the opera leave me speechless, but these two definitely deserve some recognition. Both of their voices could be heard from the back of the Coliseum and possibly even from outside, I had to scan the stage thoroughly to make sure I could not see a microphone somewhere because their voices were exceptionally loud. Karen Kamensek made sure all the music flowed and the harmony of everyone’s voices together was spectacular. The music was mesmerizing and all the voices combined together complement each other beautifully. A special mention to the Gandini Juggling company in collaboration with McDermott’s company Improbable, who were amazing from start to finish and the juggling consistently went with the flow of the music.

Set and projection designer Tom Pye and lighting designer Bruno Poet worked hand in hand together beautifully. The addition to the colour changing sun was a lovely touch and the constant ring of light surrounding Costanzo really added the special element to the opera. The jewels and the lighting go beautifully together as they were non-stop refelecting of the lights and shining bright into the audience. I really enjoyed the futuristic touch at the end and the clash of past and future made this opera different as we never see such a huge differentiation of time frames.

If glitz, glamour and blinding jewels are up your alley I urge you to come and see this opera, constantly so many new things on stage to look at and you can’t possibly catch it all with two eyes. Excellent cast, mesmerizing orchestra and to die for outfits, would highly recommend and make sure to bring a spare set of eyes with you.

Brooke Bolcho
A Sensory Journey Through the Sands of Time: ENO’s Akhnaten
*****

English National Opera’s latest production of Philip Glass’ Akhnaten, directed by Phelim McDermott, has returned to the London Coliseum for its second revival since 2016. Since its UK premiere at the Coliseum in 1985, Akhnaten has been a beloved staple of ENO’s repertoire and rightfully so as the opera delivers a unique insight into the fascinating world of the pharaoh Akhnaten, his queen Nefertiti and their controversial reign.

The opera tells the story of the pharaoh Akhnaten, who ruled Egypt during the 18th Dynasty. He is often regarded as one of the most notorious and enigmatic rulers in ancient Egyptian history due to his monotheistic religious beliefs, which were contrary to the polytheistic beliefs of his predecessors. The story follows Akhnaten’s life as he transforms into a radical religious visionary, from his rise to power to his religious revolution and, inevitably, to his downfall.

Phelim McDermott’s direction is a triumph of creativity and originality. The use of visuals and multimedia elements is remarkable, with projections of ancient hieroglyphics and paintings, as well as extraordinary choreography including an ensemble of jugglers which created a mesmerising, multi-faceted viewing experience for the audience. This production is a visual feast on every level; The set, designed by Tom Pye, is dominated by three-tier walls that reflect the movements of various performers which created a sense of immersion and interaction as well as being incredibly versatile, with different configurations used to convey the changing settings and atmosphere of the opera.

The role of Akhnaten is brilliantly sung by the exceptionally talented and versatile counter-tenor Anthony Roth Costanzo, whose voice conveys with ease the pharaoh’s spiritual and philosophical musings and androgynous nature. Mezzo-soprano Chrystal E. Williams as Nefertiti is equally impressive, bringing a regal and commanding presence to the stage and her voice blends beautifully with Costanzo’s. The two leads have excellent chemistry and their duets are a highlight of the production, in particular during the second Act in which they harmonise hypnotically whilst intertwining their matching red robes as a way of displaying their enduring passion for each other amidst the chaos of their empire.

The supporting cast also deliver strong performances, with soprano Haegee Lee bringing a strong, matriarchal presence on stage for her performance as Akhnaten’s mother Queen Tye. Bass-baritone Zachary James is excellent in the role of the Scribe with his deep, rich voice alongside his wise, mighty stage presence as he powerfully guides the audience through the complex narrative of the opera. His voice remains a constant presence in the ever-changing events of Akhnaten’s reign, lending gravitas and authority to the action.

The ENO chorus is outstanding, providing a strong and resonant vocal presence that elevates the production to another level. The chorus is used to great effect throughout the opera, with their voices blending seamlessly with the orchestra and adding depth and texture to the production. The orchestra, under the baton of Karen Kamensek, delivers an exceptional performance that captures the nuances of Glass’s score. The music of Akhnaten is minimalist and repetitive, with a hypnotic quality that complements the themes of the opera. Kamensek and the orchestra do an excellent job of conveying the shifting moods and rhythms of the score, from the ethereal opening to the powerful and dramatic final scene.

ENO’s latest production of Akhnaten is a triumph of opera. McDermott’s direction, the stellar cast, talented ensemble, superb orchestra and chorus coupled with the mesmerising visuals and multimedia elements combine to create a once-in-a-lifetime experience. Even those who are not familiar with the opera will be transported to another world and leave the theatre mesmerised.

Brooke Bolcho
A Sensory Journey Through the Sands of Time: ENO’s Akhnaten
*****

English National Opera’s latest production of Philip Glass’ Akhnaten, directed by Phelim McDermott, has returned to the London Coliseum for its second revival since 2016. Since its UK premiere at the Coliseum in 1985, Akhnaten has been a beloved staple of ENO’s repertoire and rightfully so as the opera delivers a unique insight into the fascinating world of the pharaoh Akhnaten, his queen Nefertiti and their controversial reign.

The opera tells the story of the pharaoh Akhnaten, who ruled Egypt during the 18th Dynasty. He is often regarded as one of the most notorious and enigmatic rulers in ancient Egyptian history due to his monotheistic religious beliefs, which were contrary to the polytheistic beliefs of his predecessors. The story follows Akhnaten’s life as he transforms into a radical religious visionary, from his rise to power to his religious revolution and, inevitably, to his downfall.

Phelim McDermott’s direction is a triumph of creativity and originality. The use of visuals and multimedia elements is remarkable, with projections of ancient hieroglyphics and paintings, as well as extraordinary choreography including an ensemble of jugglers which created a mesmerising, multi-faceted viewing experience for the audience. This production is a visual feast on every level; The set, designed by Tom Pye, is dominated by three-tier walls that reflect the movements of various performers which created a sense of immersion and interaction as well as being incredibly versatile, with different configurations used to convey the changing settings and atmosphere of the opera.

The role of Akhnaten is brilliantly sung by the exceptionally talented and versatile counter-tenor Anthony Roth Costanzo, whose voice conveys with ease the pharaoh’s spiritual and philosophical musings and androgynous nature. Mezzo-soprano Chrystal E. Williams as Nefertiti is equally impressive, bringing a regal and commanding presence to the stage and her voice blends beautifully with Costanzo’s. The two leads have excellent chemistry and their duets are a highlight of the production, in particular during the second Act in which they harmonise hypnotically whilst intertwining their matching red robes as a way of displaying their enduring passion for each other amidst the chaos of their empire.

The supporting cast also deliver strong performances, with soprano Haegee Lee bringing a strong, matriarchal presence on stage for her performance as Akhnaten’s mother Queen Tye. Bass-baritone Zachary James is excellent in the role of the Scribe with his deep, rich voice alongside his wise, mighty stage presence as he powerfully guides the audience through the complex narrative of the opera. His voice remains a constant presence in the ever-changing events of Akhnaten’s reign, lending gravitas and authority to the action.

The ENO chorus is outstanding, providing a strong and resonant vocal presence that elevates the production to another level. The chorus is used to great effect throughout the opera, with their voices blending seamlessly with the orchestra and adding depth and texture to the production. The orchestra, under the baton of Karen Kamensek, delivers an exceptional performance that captures the nuances of Glass’s score. The music of Akhnaten is minimalist and repetitive, with a hypnotic quality that complements the themes of the opera. Kamensek and the orchestra do an excellent job of conveying the shifting moods and rhythms of the score, from the ethereal opening to the powerful and dramatic final scene.

ENO’s latest production of Akhnaten is a triumph of opera. McDermott’s direction, the stellar cast, talented ensemble, superb orchestra and chorus coupled with the mesmerising visuals and multimedia elements combine to create a once-in-a-lifetime experience. Even those who are not familiar with the opera will be transported to another world and leave the theatre mesmerised.