London Coliseum, 15 November 2019

Saving the best till last? It certainly felt like it on the first night of Orphee with a buzz of excitement which I don’t recall for any of the other evenings – even allowing for Swarovski! ENO have had great success with Philip Glass productions and justifiably so given the quality of the teams involved and the enthusiastic audiences. That Orphee joins that elite group is almost certain given not only the enthusiasm of the reception last night but the quality of the work itself. Though Netia Jones’ production works on a very different scale with a concentration on intimate relationships rather than vast effects, the narrative unfolds within a void of huge constantly moving slabs and projections which reflect mental states rather than actual places. At the same time virtually every scene is in motion as furniture moves discreetly across the stage as scenes unfold. It is disquieting and rightly so as many of the characters are dead yet indistinguishable from the living.

Philip Glass bases his opera very closely on Jean Cocteau’s film though the nearest we get to Cocteau himself is on a TV screen before it starts. From then on it is Glass’ realisation of the action which overrides memories of Cocteau, with the score itself providing underpinning emotional support. This is unexpectedly true in the second half where the music is often highly lyrical and romantic. There is almost a love duet for Orphee and the Princess, with a real warmth within the minimalist line.

Jennifer France is outstanding as the Princess. On almost the whole time, her strength of personality as well as her passionate singing, galvanise the whole evening. She is splendidly supported by Nicholas Lester as Orphee and Nicky Spence as Heurtebise. Sarah Tynan has a more difficult role as Eurydice as it is clear Orphee is so self-orientated he has little time for her – or anyone else. She comes across with sensitivity but the pink designs make it all too clear she is little more than the token wife as far as Orphee’s self-importance is concerned.

Lizzie Clachan’s designs for all four Orpheus productions have proved impressive and here are admirably slotted into the video design by Netia Jones.

Geoffrey Paterson conducts with easy grace always allowing the singers to communicate.

Of the four Orpheus works we have seen, this is the one I suspect which will last the longest.