Duke Bluebeard does not strike one as the sort of chap most able to deal with surprises, so goodness knows how he would have reacted to the sudden indisposition of his intended bride, Allison Cook, in English National Opera’s semi-staged production of Bartok’s enigmatic one-acter. The audience, however, was able to cheer warmly for the replacement arrangements made at such speed by the company. Singing Judith – in Hungarian – with nary a few hours’ notice – Jennifer Johnston incorporated herself into the production in a way that seemed entirely in keeping with the semi-staging, performing in white from a stand centre-stage right; meanwhile, staff director Crispin Lord “walked” the role with such evocative style that the symbolism seemed heightened. The term “walked” seems hardly just in describing a set of movements that veered into performative dance on occasion – Lord’s grip on the choreography was virtuosic in its own right.
Arguments have fluttered for some time as to the merits of ENO continuing to perform in English; the company has persevered with the linguistic tradition which made the decision to perform a Hungarian opera in its original language somewhat perplexing. Joe Hill-Gibbins’ direction of the semi-staging, with designs by Rosanna Vize, was intelligent and thoughtful. The stage is dominated by a long white table reminiscent of Putin’s favourite desk. In keeping with the reduced staging, the areas behind the door are done with considered symbolism and astute lighting. The torture chamber is evoked through countless bottles of red wine being poured into Judith’s glass, overflowing and staining the table’s pristine glow, while the treasure chamber is handfuls of gold party papers tossed across the table. Behind the seventh door, not three but a brigade of veiled wives edge forward. It treads the line between adherence to the ideas behind Bartók’s piece and dramatic effect; it is a shame that a full staging was not on offer to allow the creative visions here to be fully unleashed.
John Relyea’s pungent and aromatic bass was well suited to Bluebeard and the physicality he displayed caught the nuance of a complex, unchallenged ruler. He seemed to respond to the change in sex of his bride with consummate professionalism, grasping and gripping with obsessive ardour. That Johnston was able to sing Judith with such conviction and energy with so little notice is a testament to her artistry. A range of emotions – fear, naivety, force and passion – were all thrillingly evoked, a sense of narrative constantly present in the voice, which thrilled at the top. Noticeable too was a consistent refusal to sing down into her stand, but up into the theatre. Quite a way to make a house debut!
Lidiya Yankovskaya drew a velvety, ominous sound from the orchestra, a real snap to the strings, snarl to the woodwinds and flare to the brass, all at their best at the fieriest of moments. If, on occasion, the orchestra seemed to fight slightly with Johnston this was understandable given the minimal time for the synchronising the orchestra with the new singer.
Leo Bill gave us an eloquently delivered Prologue, with a touch of cabaret in his tone. It was at its strongest with the words “outside war is raging”. Across Europe and the Middle East, this is true. Let us grasp our culture, celebrate these musicians, actors, designers and technicians: those who create work that can bring us back together by touching our shared humanity.
