Classical concerts in London

Jonathan Miller's production of 'The Mikado' returns to ENO in 2019. This review is from 2012. English National Opera's twenty-sixth season of 'The Mikado' is back in time for Christmas. Much loved, it transfers Gilbert and Sullivan's topsy-turvy Japan to a cream-coloured cartoon country house in England. Designed by the late Stefanos Lazaridis, the set includes several hidden doors and Escher-like passages upstage where something funny – or naughty – is almost always going on behind the protagonists' backs. Richard Angas plays the title role as a larger-than-life country squire. Bumbling through his domain, he applies himself to a sadistic statute book as if to a mildly diverting hobby. Lately, his law against flirting has wrongfooted Ko-Ko, a tailor, who is consigned to death row. While out on bail, though, Ko-Ko is elevated to the office of Lord High Executioner. Now he means to capitalise on this stroke of luck by wedding the beautiful Yum-Yum. She, however, is more inclined towards a mysterious wandering minstrel, Nanki-Poo. Meanwhile, the minstrel is fleeing unwanted attention from the frightful Katisha. All this provides plenty of material for WS Gilbert's unique wit. Yum-Yum and Nanki-Poo get a counterfactual love duet – sung with sweet playfulness by Mary Bevan and Robert Murray – about the kiss they're not about to enjoy. Another highlight is a trio so hypothetical it requires lyrics in algebra and Ko-Ko's manic patter delivered by Richard Suart. Flitting between

The ENO continues its quixotic mission to stage pretty much every Orpheus-inspired opera in existence with this 21st century classic. Avant garde composer Philip Glass has put a minimalist spin on this mythical narrative, full of ideas of death and immortality. ‘Orphée’  draws on Jean Cocteau’s 1950 film of the same name, so director Netia Jones will use projected footage from it in a cinema-inspired staging. Nicholas Lester and Sarah Tynan will play its central pairing, with Geoffrey Paterson conducting.

Comic opera master Offenbach's playful take on the Orpheus myth is set in the Underworld, where an obnoxious array of gods party in style. Perfect fodder for director Emma Rice, who's made her name with shows that are packed full of fun and whimsy. 'Orpheus in the Underworld' is also famous for originating the 'Can-can' dance, so expect to see a high-kicking chorus line or two. Ed Lyon and Mary Bevan play the central romantic pairing. 

Jonathan Miller's production of 'The Mikado' returns to ENO in 2019. This review is from 2012. English National Opera's twenty-sixth season of 'The Mikado' is back in time for Christmas. Much loved, it transfers Gilbert and Sullivan's topsy-turvy Japan to a cream-coloured cartoon country house in England. Designed by the late Stefanos Lazaridis, the set includes several hidden doors and Escher-like passages upstage where something funny – or naughty – is almost always going on behind the protagonists' backs. Richard Angas plays the title role as a larger-than-life country squire. Bumbling through his domain, he applies himself to a sadistic statute book as if to a mildly diverting hobby. Lately, his law against flirting has wrongfooted Ko-Ko, a tailor, who is consigned to death row. While out on bail, though, Ko-Ko is elevated to the office of Lord High Executioner. Now he means to capitalise on this stroke of luck by wedding the beautiful Yum-Yum. She, however, is more inclined towards a mysterious wandering minstrel, Nanki-Poo. Meanwhile, the minstrel is fleeing unwanted attention from the frightful Katisha. All this provides plenty of material for WS Gilbert's unique wit. Yum-Yum and Nanki-Poo get a counterfactual love duet – sung with sweet playfulness by Mary Bevan and Robert Murray – about the kiss they're not about to enjoy. Another highlight is a trio so hypothetical it requires lyrics in algebra and Ko-Ko's manic patter delivered by Richard Suart. Flitting between