National Opera Studio with English National Opera

Operatic Artistry

National Opera Studio with English National Opera

National Opera Studio at Cadogan Hall, Chelsea, 11^th June

Review by Susan Furnell

In captivating evening of rising stars, the National Opera Studio presented a spellbinding showcase featuring gifted young vocalists performing alongside the Orchestra of the English National Opera (ENO).

The National Opera Studio (NOS) trains young musicians over a nine month period to become the leading artists of their generation.  NOS works closely with six of the leading opera companies in the UK.  In addition to a bespoke coaching programme, the young artists work closely with leading directors, conductors and six leading UK opera orchestras to prepare opera scenes for public performance.

It was a true delight to witness these blossoming talents, and also a testament to the world-class musical excellence of the English National Opera orchestra during a period when the ENO faces significant budgetary constraints and an uncertain future. 

The orchestra delivered a remarkable performance, strategically positioned behind the singers rather than in the traditional pit area.  This unconventional arrangement allowed for an immersive auditory experience, where the music enveloped the audience.  The conductor, Rory Macdonald, renowned for his ability to bring out the best in both vocalists and instrumentalists, masterfully guided the tempo with seamless accelerations and abrupt changes, transporting us through the emotional landscape of each piece.  The transitions were graceful when the exquisite arias demanded it, explosive and percussive in dramatic moments, and slow and measured when necessary.  Each instrument shone at different times, yet they all interacted beautifully, creating a rich tapestry of sound.  Every instrument displayed a wonderful tone and a sense of line, contributing to the overall cohesion and dynamic interplay of the orchestra.

Mozart opened the evening, from Cosi fan tutte, the Duet No. 4 ‘There’s something about him, sister’ (‘Ah, guarda, sorella’).

Fiordiligi (Kira Kaplan) and Dorabella (Georgia Mae Ellis) exhibited remarkable vocal interplay and harmonization.  Their voices blended beautifully, particularly in passages where they expressed admiration and devotion.  Georgia Mae Ellis stood out with her rich, well-projected voice, capable of dramatic dynamic changes and subtle sotte voce passages.  Her ability to sustain long lines with excellent breath control was impressive.

The orchestra supported the singers with playful and lively orchestration, enhancing the light-hearted yet earnest mood of the piece.

Gounod’s  Mireille, Duet No. 13 ‘Ah, parle encore’ followed

Mireille (Nikolina Hrkać) and Vincenette (Heming Li) had a heartfelt duet.  While Heming Li’s voice was thinner, it added a certain purity that worked well in this context.  Her performance might be particularly suited for earlier works requiring such vocal clarity.

The orchestral accompaniment captured the tension and relief in the dialogue, with music transitioning from a tense to a more soothing atmosphere.

Britten was the next composer, with an excerpt from Act 2 of Albert Herring.

Robert Forrest, as Albert, showcased everything one desires in a Britten singer.  His ability to blend half-spoken, half-sung technique with a dramatic quality made his portrayal of Albert’s despair and frustration profoundly moving.  His voice conveyed the character’s depression and angst, making the audience feel his inner turmoil.

The drums and orchestra provided a wonderfully ominous backdrop at times, enhancing Albert’s feelings of despair and hopelessness.

Mozart Die Zauberflöte, the Duet No. 7 ‘Bei Männern’ provided the next piece.

Nikolina Hrkać (Pamina) and Aleksander Kaczuk-Jagielnik (Papageno) delivered a tender and expressive duet.  Papageno’s voice had a lovely velvety quality, although it could have been rougher to contrast more distinctly with Pamina’s pure tone given who these characters are in the overall opera.

The accompaniment was delicate and expressive, highlighting the themes of love and compassion.

Massenet’s Werther, in an excerpt from Act 3, had Georgia Mae Ellis (Charlotte) and Rosalind Dobson (Sophie) delivering a compelling performance.  Ellis’s ability to change dynamics dramatically and subtly, along with her long lines and breath control, made her portrayal of Charlotte’s melancholy particularly effective.  The blend with Dobson in their duet was musical and lyrical, though Ellis’s voice was more commanding.

The orchestral music evoked the sombre and reflective mood of Christmas Eve, underscoring the emotional tension between the sisters.

Then came the recitative and duet ‘Quanto amore’ from Donizetti’s L’elisir d’amore

Smelo Mahlangu (Dr. Dulcamara) was the star of the whole evening in this (and his other main role in Britten’s Midsummer Night’s Dream).  His super-rich voice, versatility, and effortless projection made his performance riveting and amusing.  He seamlessly switched between different vocal techniques, from half-voice singing to precise staccato passages, holding the stage and audience in the palm of his hand.  I predict this is a name you will hear on the big stages of the world.  You read it here first!

The accompaniment enhanced both the comedic and dramatic elements of the scene, reflecting the changing emotions and plans of the characters.

In a duet excerpt ‘Qu’ai-je vu?…Je frémis’ from Bizet’s The Pearl Fishers,Kira Kaplan (Leïla) and Felix Gygli (Nadir) delivered one of the most moving performances of the evening.  Kira Kaplan’s voice was full of different vocal textures, bringing depth to her character.  The duet was marked by a passionate and constant musical shifts in dominance between the two singers, always executed intuitively with great musical sensitivity, creating an emotionally charged atmosphere.  Kaplan’s heartfelt delivery, especially as she placed the curse, was deeply moving and highlighted her ability to convey complex emotions through her voice.

The orchestral accompaniment provided a lush and supportive backdrop, enhancing the emotional intensity of the duet.  The interplay between the singers and the orchestra was seamless, adding to the overall impact of this scene.

In Die Fledermaus from J.  Strauss II , and ‘Brother mine’, the ensemble displayed excellent balance and coordination.  The chorus sections were particularly strong, with each singer contributing to a rich, cohesive sound.  The individual characterizations through vocal timbre and style added depth to the performance.

The orchestral music was lively and festive, enhancing the celebratory atmosphere.  The interplay between the orchestra and the vocal lines was seamless, contributing to the overall cohesion of the performance.

The staging for all the opera scenes was imaginative and creative.  For instance, the use of yoga mats and yoga poses in the Cosi fan tutte scene added a humorous and inspired touch.  The costumes were thoughtfully designed and the Albert Herring scene featured a striking purple floral jacket that added to the visual appeal.

The transitions between scenes were exceptionally smooth.  Instead of the usual stop-start approach, many actors remained on stage, sometimes playing silent roles, which allowed others to join them seamlessly.  This approach created a professional and fluid progression from one scene to the next, maintaining the audience’s engagement without interruption.

The refined period dance in Die Fledermaus utilized the small space effectively, adding elegance to the performance.  The overall use of space and the integration of actors in transitions showcased a high level of professionalism and creativity.

The National Opera Studio, in collaboration with the English National Opera, has demonstrated the importance of supporting young talent in the arts.  These young artists brought an extraordinary level of skill and passion to their performances.  Despite the financial challenges facing the ENO, it is clear that the organisation remains a vital part of the cultural landscape, capable of producing world-class music and nurturing the next generation of opera stars.

The conductor’s background in working with young musicians was evident, as he drew out nuanced performances from both the singers and the orchestra.  Macdonald’s ability to maintain a balance between the two, ensuring that neither overpowered the other, was particularly noteworthy.  As the director, Emma Jenkins’ innovative staging and attention to detail brought a fresh perspective to each opera scene, making the performances both engaging and visually stimulating.

Overall, the production was a resounding success.  The orchestra and singers worked in harmony to create a memorable and engaging experience.  The innovative staging and exceptional performances, particularly by standout singers like Smelo Mahlangu and Georgia Mae Ellis, made for an evening of opera that was both intimate and impactful.  The performance not only highlighted the talent of these young artists but also underscored the critical role that institutions like the NOS and ENO play in the cultural and artistic development of the opera world.

Susan Furnell, June 2024

Photography courtesy of NOS