The Harewood Artists Programme, Established in 1998 by the English National Opera aims to support talented Opera artists on their performance journeys. A mixture of vocal and language training offered by various experts in their field, the programme also offers the chance for performers to take part in current ENO productions. Twelve artists will be joining the 20/21 cohort, one of which will be award winning baritone Benson Wilson. Ahead of his training and performance in ENO Drive and Live’s La Bohème, Benson tells us more about taking part in the programme.

Continue reading

Despite an outstanding musical performance, Carmen lacks a decisive believability that would have brought this intriguing concept to life, the orchestra however excels.

Courtesy of Richard Hubert Smith.

Continue reading

Making its premiere in the late 19th Century, Gilbert and Sullivan’s The Mikado had witnessed the 2nd longest run in the Savoy Theatre’s history up until that time period. At least 150 companies within Europe and America had produced the opera, showing a demand for the opera within the west. Based in Titipu, Japan, the idea was to satirise British Politics by ‘othering’; placing the narrative in a distant land – a concept we now recognise as highly offensive due to the creators’ lack of knowledge of Japanese culture. Cue the English National Opera’s take on the well known opera, a focus more so on the satirisation of politics and the upper classes.

Continue reading

A marriage doomed from the onset, Orpheus and Eurydice’s union is perhaps one of the most well -known stories within the Greek pantheon of myths and legends. Prophesised to not last, both enjoy a short lived romance, inevitably put to a bitter end by the cruel passing of Eurydice.

Continue reading

On Wednesday 14th November, Love Theatre Day, I conducted a Critical Thinking Workshop at the English National Opera. The aim was simple, to encourage a future generation of thinkers to break down their ideas critically.

Continue reading