We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. • At Alexandra Palace, London, until 27 September. Verdi lovers have reason to be grateful to ENO for this new production of Luisa Miller – and also reason to be enraged. It’s poète maudit Rodolfo (the vocally thrilling David Butt Philip) at the end of his shift and the opera has begun. John Lennon once asked the people in the cheap seats to clap and the others to rattle their jewellery. The stellar cast includes three international singers whose careers were nurtured by ENO: Iain Paterson, Sophie Bevan and Leigh Melrose. (There’s no need for a driver since these cars aren’t going anywhere.) A world premiere from ENO’s composer-in-residence Ryan Wigglesworth, The Winter‘s Tale a compelling new interpretation of Shakespeare’s tale of love, loss and reconciliation. These are called “uber boxes”, though, as far as I can see, they are Toyota Priuses in which up to four people can sit. You need to be a subscriber to join the conversation. Loosely based on a play by Schiller and composed in the wake of the 1848 revolutions, it follows a story-line that also shapes George Eliot’s contemporary novel Adam Bede and the ballet Giselle – the disastrous seduction of an innocent rustic lass by a smitten gentleman who should be marrying his own kind. On attribue généralement la paternité de la musique d’ambiance à Brian Eno qui au fil des ans en a produit un inventaire impressionnant. Surtitles above the stage tell drivers to tune their radios to 87.7FM to get the best audio, though quite a few have their windows open to hear the music from speakers placed around the car park. Inside one van, seamstress Mimi is stitching and while the painter Marcello (Roderick Williams channelling, at least visually, Ian Dury) is daubing hippyish designs on his own van while philosopher Colline (bass William Thomas, captivating in his final aria) is also filming the scene, his black-and-white footage occasionally projected on to the huge screens flanking the stage. Up to this moment, Chloe Lamford’s production design has been so cutely site-specific, with camper vans and cars mingling with the stationary audience, but director PJ Harris and choreographer Dannielle Lecointe’s interlude of generic street dancing and tokenistic hip-hop just seems embarrassing. Translator Amanda Holden has updated the action but resisted giving Mimi’s tuberculosis topical resonance. In rep until March 6. Leaving the motorists in what looks like a long queue to exit the car park, I cycle through north London cherishing something lovely about this drive-in Puccini: the memory of how our quotidian of Uber, Deliveroo, social distancing parameters and the Domnishambles of Covid government is transfigured by the heartbreak of love. Rodolfo’s review is set aside as Mimi arrives and seduces him from his laptop. Alexander Joel conducts very fluently. All the singers are miked. He’s arrived home, not at a Parisian garret but at a hipster encampment of vans in a London car park, just like the one we’re sitting on. The VIPs are ushered to the best seats in the house – that’s to say cars parked near the stage. All rights reserved. Last modified on Mon 21 Sep 2020 12.14 BST. Despite this, I notice several people heading that way unmasked, some of them smoking – – which you definitely can’t do in ENO’s auditorium at the Coliseum. Together they made my spine tingle. The singers and musicians’ curtain calls seem perfunctory – understandable given that the audience is atomised and mostly invisible in their cars. Archives par mot-clef : Eno. Equally impressive was the American bass Soloman Howard as the lugubrious villain Wurm, though Verdi doesn’t allow either him or Christine Rice, classy in every sense as the duchess Federica, much chance to shine. With the action updated to a London car park and the audience in cars, ENO’s La Bohème is Europe’s first live drive-in opera. Hotel Chocolat servers take orders for ice cream, chocolates and drinks. Nous avons choisi la version du ENO (English National Opera) qui offre un spectacle féerique au moment de Noël. Kim is a tenor of enormous promise, and his acting seems to be improving too. As dusk falls over Ally Pally, Mimi starts her stagey cough. Ryan Wigglesworth also conducts. A world premiere from ENO’s composer-in-residence Ryan Wigglesworth, The Winter‘s Tale a compelling new interpretation of Shakespeare’s tale of love, loss and reconciliation. Brian Eno réédite un disque exigeant, aux portes de l’expérimental, qui devrait récompenser les auditeurs les plus curieux. London Coliseum English National Opera V erdi lovers have reason to be grateful to ENO for this new production of Luisa Miller – and also reason to be enraged. Last staged in Britain 17 years ago, it’s a significant work. Commissioned by ENO’s now departed artistic director Daniel Kramer, it represents an exercise in a tired theatrical idiom that audiences are now heartily sick of, and it was duly booed at the curtain call. Cookies: Ce site utilise des cookies pour améliorer votre expérience utilisateur. Barbora Horáková Joly is a Czech director based in Germany who has worked extensively with Calixto Bieito (he of the notorious “pants-down” version of Verdi’s A Masked Ball that appalled the Coliseum in 2002). As Mimi lies dead and grief-stricken Rodolfo flees between parked cars, as if towards the garden centre (mate, it’s closed for the night), the production contrives to be deeply moving, despite the fact that the communal pleasure of being in a live audience is almost entirely lacking. Behind are the middle classes who’ve come in their own vehicles (£100 per car). English National Opera (ENO) is an opera company based in London, resident at the London Coliseum in St Martin's Lane.It is one of the two principal opera companies in London, along with The Royal Opera, Covent Garden.ENO's productions are sung in English. Al fresco Ally Pally audiences have seen grime stars and blockbuster movies but nothing like this. Backpacking trombonist Schaunard returns with a wad of cash to blow at an artisanal street food market, which is where act two unfolds after the ice cream and hot-dog vans have parked up on stage. Publié le 19 décembre 2012 par Home Sweet London Quelle meilleure façon de célébrer cette fin d’année que d’aller assister au célèbre ballet Casse-Noisette (Nutcracker) de Tchaïkovsky.

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