The Valkyrie - ENO

[Belgrove]

Richard Jones is having another stab at The Ring, this time at ENO (I’m probably the only one around here who regarded his cycle at the ROH in the ‘90’s as one of the most exciting things I’ve seen in the theatre). It kicks off with The Valkyrie with Martyn Brabbins conducting. Matthew Rose assuming the role of Wotan is a particularly enticing prospect. Anyone going?

[LHC]

Richard Jones is having another stab at The Ring, this time at ENO (I’m probably the only one around here who regarded his cycle at the ROH in the ‘90’s as one of the most exciting things I’ve seen in the theatre). It kicks off with The Valkyrie with Martyn Brabbins conducting. Matthew Rose assuming the role of Wotan is a particularly enticing prospect. Anyone going?

You're not alone; I too found the Jones Ring remarkably stimulating. I'd forgotten this was coming to ENO, and might try and get a ticket.

[Cockney Sparrow]

In principle tempting, but I'm avoiding London - including theatres and concert halls until into the New Year for reasons as to when I'm ready to succumb to the enhanced risk of the inevitable contraction of Covid*. I can't recall objecting to Richard Jones' productions but I came into the Ring live later in life with Warner's at ROH so I suppose I can put up with a fair bit of nonsense if need be.

I'd be happy with Brabbins but I was in the highest eeyrie (i.e.cheap) in the Pountney/Elder years and my word, from my recollection the Coliseum is barn of a place for a singer to reach all the audience. I'd be happier with those singers in Sadlers Wells - but maybe it will all be fine. I'll be interested to hear about it. At least ENO is on the upward track in its ambition......

(*Had my booster yesterday 1 day after my invite and 188 days after my 2nd vaccination).

[Ein Heldenleben]

In principle tempting, but I'm avoiding London - including theatres and concert halls until into the New Year for reasons as to when I'm ready to succumb to the enhanced risk of the inevitable contraction of Covid*. I can't recall objecting to Richard Jones' productions but I came into the Ring live later in life with Warner's at ROH so I suppose I can put up with a fair bit of nonsense if need be.

I'd be happy with Brabbins but I was in the highest eeyrie (i.e.cheap) in the Pountney/Elder years and my word, from my recollection the Coliseum is barn of a place for a singer to reach all the audience. I'd be happier with those singers in Sadlers Wells - but maybe it will all be fine. I'll be interested to hear about it. At least ENO is on the upward track in its ambition......

(*Had my booster yesterday 1 day after my invite and 188 days after my 2nd vaccination).

£170 to sit in the stalls ? Ye (twilight of the ) Gods. Think I’ll pass for much the same reasons or take along a CO2 monitor and leave when it gets above 1200 ppm…

[Cockney Sparrow]

£170 to sit in the stalls ? Ye (twilight of the ) Gods. Think I’ll pass for much the same reasons or take along a CO2 monitor and leave when it gets above 1200 ppm…

I'm trying to recall the name of the London (mainly) blogger on Opera who charted the many events in the downward path of maladministration, wrong-headed appointments and inexplicable decisions which laid ENO so low after (well after) the glorious Pountney/Elder years. As she regularly revealed they capitulated on ticket prices in those years by offering them at knock down prices as the date for an empty auditorium approached. I'm sure those days are over, as it seems to be under competent management these days - although I haven't followed the detail of events in St Martin's Lane.

I didn't give serious consideration to the stalls seat prices as I'm not going, but I need an equivalent simile to that of the D of Edinburgh's for sailing "its like tearing up £50 notes under a cold shower....".

[Ein Heldenleben]

I'm trying to recall the name of the London (mainly) blogger on Opera who charted the many events in the downward path of maladministration, wrong-headed appointments and inexplicable decisions which laid ENO so low after (well after) the glorious Pountney/Elder years. As she regularly revealed they capitulated on ticket prices in those years by offering them at knock down prices as the date for an empty auditorium approached. I'm sure those days are over, as it seems to be under competent management these days - although I haven't followed the detail of events in St Martin's Lane.

I didn't give serious consideration to the stalls seat prices as I'm not going, but I need an equivalent simile to that of the D of Edinburgh's for sailing "its like tearing up £50 notes under a cold shower....".

I think the prices were pretty knockdown in the Harewood days - with a Ring performed by Goodall, Remedios, Hunter , Bailey , Hammond-Stroud , Belcourt etc etc….

[Dave2002]

...an equivalent simile to that of the D of Edinburgh's for sailing "its like tearing up £50 notes under a cold shower....".

Probably Edward Heath referring to ocean racing - in the days before plastic notes - fivers - though the DoE might have updated it for £50 notes.

[Katzelmacher]

I am likewise reluctant to return to London until I’m better-protected re: COVID (still waiting for booster jab) and the COVID statistics look more propitious. Travelling on London transport atm certainly doesn’t appeal.

As long as Jones is allowed his own head and not leaned on by a nervous management, I’m confident this will be a Ring worth seeing. I was not of opera-going age at the time of his 94 CG production, but I can remember the hullabaloo about it. Having seen many of his productions since then, I know him for a director who never does anything modish or stupid and one who works to the spirit of a score rather than trying to put his own ‘stamp’ on it. The prospect of Emma Bell as Sieglinde also appeals, after she was so impressive in WNO’s Lohengrin a few years back.

Just a shame it has to be in English. Maybe the production could be exported to Germany, so I can see it in the correct language?

[duncan]

I didn't see the ROH ring but have enjoyed some of Jones' other work so have tickets for one of the December performances. I wonder being a Met. co-production will influence his style?

From the ENO website:

Balancing a traditional interpretation of the mythological and setting with a 21st Century point of view, expect a ground-breaking new production to frame one of opera’s most beloved stories. Keep an eye out for the ever watching ravens of Wotan skulking around the stage. Huginn and Muninn, whose names translate to ‘Thought’ and ‘Memory’, are always watching Siegmund and Sieglinde, reporting back to Wotan on their actions.

[Prommer]

I am going on 7th December, which is the one performance that has been given to Anthony Negus to conduct. Who is (I think) doing a lot of the coaching...

[LHC]

I am likewise reluctant to return to London until I’m better-protected re: COVID (still waiting for booster jab) and the COVID statistics look more propitious. Travelling on London transport atm certainly doesn’t appeal.

As long as Jones is allowed his own head and not leaned on by a nervous management, I’m confident this will be a Ring worth seeing. I was not of opera-going age at the time of his 94 CG production, but I can remember the hullabaloo about it. Having seen many of his productions since then, I know him for a director who never does anything modish or stupid and one who works to the spirit of a score rather than trying to put his own ‘stamp’ on it. The prospect of Emma Bell as Sieglinde also appeals, after she was so impressive in WNO’s Lohengrin a few years back.

Just a shame it has to be in English. Maybe the production could be exported to Germany, so I can see it in the correct language?

It’s a co-production with the Met, so will be performed in German there, although God knows what the famously conservative Met audience will make of a Jones production.

[Katzelmacher]

It’s a co-production with the Met, so will be performed in German there, although God knows what the famously conservative Met audience will make of a Jones production.

I’ve not seen the most recent Met Ring (Robert Wilson?) but it apparently wasn’t a straightforward one, and wasn’t much loved by the Met audience.

[Prommer]

Well, his WNO production of Meistersinger - which I saw when translated to ENO and therefore in English - was the BEST Wagner production I have ever experienced.

[Darkbloom]

I'm trying to recall the name of the London (mainly) blogger on Opera who charted the many events in the downward path of maladministration, wrong-headed appointments and inexplicable decisions which laid ENO so low after (well after) the glorious Pountney/Elder years. As she regularly revealed they capitulated on ticket prices in those years by offering them at knock down prices as the date for an empty auditorium approached. I'm sure those days are over, as it seems to be under competent management these days - although I haven't followed the detail of events in St Martin's Lane.

I didn't give serious consideration to the stalls seat prices as I'm not going, but I need an equivalent simile to that of the D of Edinburgh's for sailing "its like tearing up £50 notes under a cold shower....".

You used to be able to get a seat in the balcony for £2.50 (early 2000s). I would go and see all sorts of rep I normally wouldn't bother with (Manon, La Vestale, War and Peace, Il Trittico) and there was something homely and accessible about the old Coli. After the refurbishment they immediately jacked up the prices, so I went down the road instead as they offered better performances for a similar price.

[Dave2002]

There used to be Secret Seats which were often pretty good for under £30 - that in the last decade or so. Not sure if they're still doing those.

Also, one had to be quick to get them. Usually - but not always - order on the day booking opened. Sometimes the opportunity would come a short while later.