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Dir: Sir Charles Mackerras (cond), Martin Fitzpatrick (cond), David McVicar (dir).
Cast: Rebecca Evans, Timothy Robinson, Ann Murray, Cheryl Barker
Description: Sir Charles Mackerras conducts Britten's operatic adaptation of the Henry James novella. Revived by David McVicar to critical acclaim.
Trains: Tube: Leicester Square/Charing Cross 
, Tube / Bus: 3, 6, 9, 11, 12, 13, 15, 23, 24, 29, 53, 77a, 88, 91, 139 
Phone: 0871911 0200
Website: www.eno.org
Email: access@eno.org
Chilling: Nazan Fikret as Flora and Rebecca Evans as The Governess
Britten’s Turn of the Screw, like Henry James’s original novella, is a masterpiece of suspense: a chilling tale of violated innocence with supernatural trappings. Morphing in and out of ghost-story mode, both versions of the story leave us unsure just how guilt-free the two children are, whether and how they were abused by Peter Quint and Miss Jessel, and how far the whole thing was imagined by the Governess.
David McVicar’s revived production skilfully leaves these questions hanging in the air, though once or twice it seems to suggest the events are imaginary, as when Miss Jessel, down by the lake, is placed clearly within the field of vision of Mrs Grose, who nevertheless cannot see her. But for all that, it’s a subtly ambivalent staging, the more powerful for its ominously suggestive tone, its refusal to disclose.
The boy Miles has an alarmingly sadistic bent, to judge by his enthusiastic whipping of the nursery hobbyhorse. And the kiss he plants on the mouth of the Governess is not so innocent, either.
There’s also a spooky moment when Miles and Flora bury the doll the girl was given by the Governess in the ground, in the same spot as that from which Peter Quint has recently disinterred Miss Jessel. Or is all this imagined by the Governess, too?
Rebecca Evans, Cheryl Barker and Ann Murray reprise the roles of the Governess, Miss Jessel and Miss Grose with the assurance and aplomb they brought first time around. Michael Colvin brings a malevolently plangent, wheedling tone to the role of Peter Quint, and Charlie Manton and Nazan Fikret are excellent as the two children.
Charles Mackerras conjures a dark, sinister quality that perfectly complements the oppressive visual picture (Tanya McCallin’s sets are admirably lit by Adam Silverman).
Until 9 November. (0871 911 0200, www.eno.org ).
Details are correct at the time of publication - please check with venue before booking.
This acclaimed McVicar production of 2007, revived for just six performances, boasts three of the original singers, and a new conductor, the legendary Charles Mackerras, who worked with Britten on the original production, sharing the conducting with the composer in 1954 when the opera arrived in London after the Venice premiere.
The capacity audience was an eclectic mix of ages and backgrounds – many coming to the piece for the first time, perhaps encouraged by the London Evening Standard's incredible tenors for tenners offer.
They saw a wonderfully designed production, all sliding screens, mirrors and autumn leaves. And set firmly in the nineteenth century – no Glyndebourne postwar austerity here. This a chamber opera, and all the players are crucial. Ann Murray as Mrs Grose the housekeeper was the doyenne of the company, with Michael Colvin as a creepy, ghoulish Quint and Charlie Manton as his knowing, tough little Miles. Very strong too were Rebecca Evans as a sensitive governess, Cheryl Barker as Miss Jessel, and Nazan Fikret as a rather mature Flora. Both she and Charlie sang their parts with impressive poise and musicality.
The six servants, smoothly setting the scene, sometimes confused the eye, but reminded us that these children, these ghosts, are not alone in the great house of Bly.
- Michael Gray, Chelmsford UK
