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London,
Barry Millington's rating
Reader rating
Phone: 020 7922 2922
Trains: Tube/BR: Waterloo 
ENO’s experimental collaboration with the Young Vic last season proved so successful that the two have joined forces again. This time theatre director Katie Mitchell was commissioned to create a multi-media presentation — using music, theatre and film — based on Purcell’s Dido and Aeneas.
After Dido adds a commentary to Purcell’s opera in the form of a film unfolding three simultaneous narratives of bereavement, rejection and marital breakdown. These narratives are actually created in front of our eyes, with actors taking the roles, while the lighting and sound effects are executed by others on stage.
An extra level is added by the fact that the latter technical operators turn out to be doubling as singers, with Dido (Susan Bickley) taking her turn at the kitchen sink.
The multi-layered result demands a split-level brain and is certainly not one for those allergic to “clutter” on the stage. But for the new, young audience ENO is attracting, it’s doubtless a cinch — as well as a synch.
You have to hand it to the ensemble: there’s an extraordinarily intricate operation going on here and it’s to Mitchell’s credit that she has been able to realise her brilliantly original conception, taking singers well out of their comfort zone.
A price is paid in the quality of the performance of the opera itself, which is mediocre. Katherine Manley is a noteworthy Belinda but there are no outstanding performances. The tonal purity of the small instrumental ensemble, under Christian Curnyn, was also compromised.
One could make other complaints. The sound effects too often interfere with the music: Bickley had to contend with a ticking alarm clock while delivering her great Lament, while the best of the few lines given to Aeneas (Adam Green) were drowned by the fierce patter of rain.
The triple narrative is also potentially confusing: you expect that of the man to be linked with one of the two women’s (as Aeneas abandons Dido) but they’re actually separate (I think). And the deliberate alienation of the simultaneous filming does undercut the emotional power of the drama: I was intrigued rather than moved, even by the final suicide.
Still, it’s an approach to Dido and Aeneas that has plenty going for it. It adds contemporary components to a less than fully-fledged opera, extending its appeal to new audiences. A brave and worthwhile venture for ENO.
Until 25 April. Information: 020 7922 2922, www.eno.org.
Details are correct at the time of publication - please check with venue before booking.
