On a grey and somewhat chilly Bank Holiday Sunday English National Opera, with the full ENO orchestra and chorus and soloists David Junghoon Kim, Natalya Romaniw and Roland Wood were at Crystal Palace Park. So were we.
Part of ‘South Facing Festival’ this was the first time this music festival has taken place and it showed. In the information provided to concert goers and in provision of refreshment at the site. So, there wasn’t a clear message that the gates would open at 5.30 pm, yet the show would not begin until 7 pm. A crowd of people were milling around at the entrance at 5.20, all a little bemused at the lack of urgency in letting people enter. We were there and then sat around for an hour and a half, waiting. It did allow us to grab a prime spot, however, with a very good view of the stage.
Despite a promise of ‘a carefully curated line-up of some of the UK’s top street food traders‘ we had small choice – a couple of burger joints, a pizza place, churros and sushi – with long queues, which meant people walking back to their places bearing food after the performance had commenced. There were bars aplenty, unfortunately they sold only hugely overpriced cans – of beer, of wine and of gin & tonic. No draught beer, no bottles of wine. And no bringing your own drinks with you. We knew this, so didn’t try, but others clearly did not and had their goodies confiscated at the entrance. Given the lack of choice and the prices charged this left a sour taste in a lot of mouths.
So did some of the ticketing information. We’d gone for the cheap seats in Zone C ( blankets on the grass at the back ). Others had paid a premium ( £60 ) for Zone A. In one instance £240 for four seats, the man arguing heatedly with a steward clearly believed, only to be told this paid for entry to Zone A and he would have to pay even more for Zone A with seat (and there were no such tickets left). He and his family had to sit on the grass at the back of Zone A, only a few yards from where we sat. They weren’t pleased and understandably so.
Whoever organised this was clearly focussing on making as much money as they could. I estimated over a thousand people were there on Sunday, each paying a minimum of £35, many paying more. The food and drinks outlets would also pay the organisers for their pitches. Yes, opera is expensive and the local council would be paid for use of the park, but, if you’re offering a superb musical experience, then why not allow people to enjoy the whole evening, not just the performance.
But this was the ENO so the playing and singing was sublime. I had forgotten what a full orchestra, live, sounded like and Puccini was a wonderful way to be reminded. The performance was ‘semi-staged’ and the ENO had circumvented the potential pitfalls ( Tosca shot Scarpia and, at the end, herself, in the absence of a stage on which to set a dinner table or a set of battlements to leap from ). Inevitably some of the subtleties went missing -if you didn’t know about the political sub-plot and the news from Marengo, it would have passed you by completely.
The music and singing were absolutely ENO standard, that is, world class. They had bought their A game. Kim was a lyrical and powerful Cavaradossi who reached those high notes with ease. Romaniw was empassioned and exquisite – even in a park and with an audience this big, you could have heard a pin drop during ‘Vissi d’arte‘. At the end, everyone was on their feet and clapping and cheering ( and booing Scarpia, who was an excellent Roland Wood ). Though there were also folk beginning to clear away their things – it was cold by this time. The group to the immediate right of us had brought duvets, they were snug.
Tosca is also the opera in ‘Opera’, a performance of which my heroine attends with a Greek diplomatic party ( the Greeks from previous book, ‘Oracle’ ) but that one is at the Royal Opera House ( of which more in a future post ).