The Pilgrim's Progress, English National Opera | Opera reviews, news & interviews
The Pilgrim's Progress, English National Opera
A new production finally welcomes Vaughan Williams' opera home to the Celestial City
John Bunyan’s Christian, hero of The Pilgrim’s Progress, may have been putting his feet up in the Celestial City for the better part of 350 years, but for Ralph Vaughan Williams’s Pilgrim it has been a rather different story. Languishing in the Slough of Despond after an unsuccessful first run at the Royal Opera in the 1950s, the composer’s lavish “Morality” The Pilgrim’s Progress, with its patchwork biblical libretto, vast forces and uniquely blended combination of opera and oratorio, has never since established a secure place in the repertoire.
A new production at English National Opera – the company’s first, and indeed the first fully-staged production since the work’s 1951 premiere – provides an opportunity to reassess a piece whose score has long been a quiet favourite among musicians, but whose dramatic viability has never yet been successfully proved.
Oida’s production may just be the operatic (Shawshank) redemption this work has been waiting for
At the head of this rehabilitating mission is director Yoshi Oida. A long-time collaborator of Peter Brook’s, Oida combines a ritualised Japanese quality of gesture with a western frame of reference, and has described his work as “a theatre of service”, likening it to “a bus transporting the audience to a realm of their own imagination which they would not reach otherwise". It’s a philosophy that chimes with Bunyan’s own dream vision tale, written to carry its readers through the challenging journey of Christian living, and one that also finds resonance in Vaughan Williams’ contemplative score – written to evoke and suggest rather than to enact.
Oida frames The Pilgrim’s dream in a prison. Enclosed in a metal cage, an endlessly flexible sequence of walkways, doors and structures create a shifting stage space to accommodate the changing landscape of the journey. All changes happen in plain sight, as everyday prison objects and locations becomes repurposed in the story (most fantastically in an oversized scrap-puppet Apollyon) with the prisoners themselves taking the roles of Pilgrim’s fellow travellers.Described by a contemporary as "summarizing in three hours virtually the whole creative output of a great composer", Vaughan Williams’ score is a collage that avoids self-pastiching smugness by its sheer radiance. Here we find the lofty melody-writing of the Five Mystical Songs, the string sheen of the Fantasia on a Theme of Thomas Tallis, blazing brass fanfares of A Sea Symphony and the folk-simplicity of the a capella choral motets co-existing in a generous muddle of spiritual contemplation.
Martyn Brabbins directs the ENO orchestra in a superb performance, keeping the textural surge and swell poised rather than succumbing to the too-easy abandon Vaughan Williams’ music invites. But the orchestra are if anything outdone by the chorus – delighting in some of the finest ensemble-writing they’ll get to sing all season, their blend and painfully-precise tuning transforming the Coliseum into a vast, resonating bell.
Roland Wood leads a strikingly young cast as The Pilgrim. A secure but unspectacular start initially disarms, but he warms to a lyrical pitch in the post-interval aria, revealing his dramatic understatement as a long and carefully-calibrated game. Among the visual chaos of the supporting characters, whose allegories riot colourfully all over the stage (the cross-dressing, phallus-wielding Vanity Fair sequence their climax), Wood is a quiet constant, finding support from Eleonor Dennis, Aoife O’Sullivan and Kitty Whately in their various celestial guises. Dennis in particular makes a memorable ENO debut. Showcased over the past few years in Royal College of Music productions, here the powerful young soprano comes of age, showing just how far she has outgrown the chamber space of the Britten Theatre. Surely we will be seeing much more of her in future.
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Can the new incumbent hold out against the company's impoverishment?
A gem from 1766 offers pure delight in perfect casting and playing
Superior cast elevates revival of Albery’s serviceable production
Mozart meets Schnitzler, and a Donizetti premiere strikes gold
The Bard in words and music from Mendelssohn to Adès, steered by the best
Gorgeous sounds but not enough tension in concert Janáček
Reality bites in Dvořák's rarely heard masterpiece
Potent and disquieting, this new production makes no secret of its agenda
Smashing time with Gerald Barry's crazy-precise operatic whizz through Wilde
An operatic story still etched as deeply as ever
Chilling symmetries in Richard Jones's take on Musorgsky's hard-line original
Crucial and articulate voices representing a great company under threat