Offenbach, La Belle Hélène:
Soloists, Chorus & Orchestra of English National
Opera, Coliseum, 3.4.2006 (CC)
It is just this lighter side of the operatic life
that ENO excels at. Back in 2004 their Mikado
provided an evening of pure delight - now it is
the turn of Offenbach's La belle Hélène,
with its title unusually given in the original language
(the production, of course, is in English). But
this was an evening made even more special by the
presence of Dame Felicity Lott as Helen, Queen of
Sparta (Lott returns to ENO for the first time since
1988). Directing is Laurent Pelly – and this
production was originally seen in Paris in 2000.
There is more than a touch of the 'Carry On' about
this Offenbach, including come crushingly cringeworthy
jokes from all sides (I loved the reference to the
gossip magazine, 'Omega Kappa' – and then
there was the line, 'Sorry, I'm a bit Homer-phobic';
and how about the idea of a 'Troy-boy'?). The production
seems multi-leveled. It would be interesting to
go back just to see how much I'd missed, a bit like
revisiting the 'Airplane' movies so that you can
watch the other jokes that are going on in the background.
The appearance of a tour guide on stage had an unexpected
resonance – ENO has in the past staged Glass’
Akhnaten, which ends with a set of contemporary
American tourists, used in a very different way.
Only one caveat – there were a couple of moments
when I had to ask myself how many more jokes can
you get out of Achilles and his heel.
All this, of course, would be worthless if the evening
flopped musically. Nothing could have been further
from the truth, though. The chorus lived up to its
reputation, as slick as could be and evidently having
as much fun as the audience. Two soloists made the
comedy zing – Steven Page's Calchas and Bonaventure
Bottone's superb Menelaus (more than a hint of the
Brian Blessed here). Toby Spence was a virile Paris,
the object of Helen's affections, his voice only
occasionally below the tonal strength required.
His Act II aria was a particular highlight.
Of course, the star was the much-loved Flott (as
she is affectionately known). Lott's timing is the
result of a long and distinguished career and is
absolutely faultless. At one point I did wonder
if she ever studied with Kenneth Williams for the
more OTT moments (her cries of 'Vanity, vanity vanity'
were remarkably close to that 'infamy, infamy, they've
all got it in for me' line). Her voice, it is true,
is not the youngest any more, but it is in quite
remarkable shape. From the rest of the cast (and
this was a real ensemble piece), Parthenis and Leona
(Amy Freston and Claire Wilde) were cartoon characters,
delightful as two courtesans.
The production uses a wide variety of techniques
– from shadow-play to the most astonishing
human sheep (don't ask – just go to see it
if you can). The space is expertly used –
never crowded – and I just loved the Greek
beach of the final act with its signs actually in
Greek (although I'm not sure if there is a word
'Kefezaxaroplasteion' – it means coffee and
sweet shop, I think – but I'm probably wrong
and it doesn't really matter anyway).
Superb. ENO at its very best.
Colin Clarke
