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30 Not Out  -  English Touring Opera’s Celebration Year - from Handel to Janáček:  Janáček's  Katya Kabanova,  Hackney Empire, London 13.3.2009 (SL)


“Reaching parts others don’t reach” may be a bit of a cliché in copy-writing terms, but it’s the fact which makes ETO the national treasure that it is.  Delving deep into the more rural and suburban halls of England, from Truro in the far west to Snape in the east, from Poole on the Channel coast to Sheffield in the north, this innovative company brings quality opera, in English, to those who might not otherwise get the chance to experience it.  This year, they are really pushing the boat out with an amazing raft of works that include a new production of Janacek’s Katya Kabanova, Mozart’s The Magic Flute and even some concert performances of Bellini’s great work, Norma.  In the Autumn, they re-group for an absolute cornucopia of Handel which they will again take around the country: Alcina, Ariodante, Flavio, Teseo and Tolomeo – a HandelFest indeed for lovers of the baroque and, one hopes, for those who are new to the genre.

Unusual venues are part and parcel of this kind of brief, and ETO General Director James Conway recounts many amusing, and not so amusing, anecdotes on this subject in his introduction to this anniversary year for the company.   The Hackney Empire is certainly an unusual location for serious opera, but well worth the mini-trek out east from central London to experience its Edwardian splendours.

The opening night of Janáček’s Katya Kabanova at the Empire was certainly well up to standard with some sterling vocal work from soprano Linda Richardson in the title role; her lyrical passages and duets in the later scenes came like streaks of rosy dawn after a dark night.  Janáček’s  music is a wonderfully evocative sound-world of repressed emotion, yearning and, paradoxically, optimism - and the surprisingly large ETO orchestra under Michael Rosewell responded to the emotional force of this music with care and detailed work in all departments.  The timpani, oboe and brass gave special pleasure, as did Michael Rosewell’s handling of those arching swells of sound and sometimes strangely altered harmonies.   The rest of the cast all worked well within their considerable abilities with good ensemble work from the chorus, and if Fiona Kimm lacked a little malevolence in the playing of the evil-minded mother-in-law Kabanicha, her singing made up for it.

This is a touring company, and sets have to reflect that.  This set (Adam Wiltshire, lighting Guy Hoare) for Katya was a simple, a grey-flecked backdrop with occasional stranded wooden planks (decaying boats?) and abandoned icons for the river bank scenes, and warmer coloured flats suggesting the interiors of the house. It worked here and it will work wherever they take it.

In this time of worry and uncertainty in the world of opera, ETO continues to bring high quality work at a reasonable price to almost anyone in the country who wishes to see it – long may they continue to do so.

Sue Loder

ETO's 2009 season can be found at: www.englishtouringopera.org.uk

For details of the HandelFest please email:  Handel@englishtouringopera.org.uk

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