United Kingdom English National Opera’s, Angel’s Bone: Soloists, Kantos Chamber Choir, Members of the BBC Philharmonic / Baldur Brönnimann (conductor). Aviva Studios, Manchester, 12.5.2026. (JB)
In the captivating setting of Aviva Studios, Manchester’s newest performance venue, English National Opera further cemented their presence in the city with their production of the opera, Angel’s Bone by Du Yun, with libretto by Royce Vavrek a work – which won the Pulitzer Prize for music in 2017 – about a struggling couple finding and subsequently exploiting two injured angels for financial and personal gain.
In collaboration with Factory International and featuring musicians from the BBC Philharmonic (conducted by Baldur Brönniman) and the Kantos Chamber Choir, this remarkable musical event challenged the expectations of conventional opera, innovating in an almost improvisory manner. Firstly, the audience were required to stand throughout its entire ninety minutes, encircling the action like an episode of Top Gear. This formed part of the promised ‘immersive experience’ possibly to make the audience more uncomfortable to match the distressing nature of the plot and characters. Six giant screens were positioned high, around the revolving stage so that when the action couldn’t be seen from the ground, the skilful work of the three ‘on stage’ cameramen was on view to all, craftily blending and overlapping images, as well as providing subtitles.
The first appearance of the Kantos Choir was as angels, approaching from all sides (regardless of any audience members who might be in their way) with deep, a cappella voices intertwining thoughtfully. Later, they reappeared as the party guests, high on imagined drugs, alcohol and with an unbridled lust to take whatever they wanted with mutual encouragement and without fear of consequences. The details of such planning and execution of the various, simultaneous played-out mini scenes, was incredible – with the actors daring the audience to look at them in particular.
There are only five main characters in the cast: the amoral Mrs XE, played by Allison Cook, her dominated husband, Mr XE, played by Rodney Earl Clarke, the innocent Boy and Girl Angels, by Matthew McKinney and Mariam Wallentin and the Male Soprano (a narrator/watcher angel) by Keith Pun. Other characters were made up from the marvellous Kantos Chamber Choir, whose vocal contributions, acting excellence and malevolent presence ensured the surrounding audience always had an intriguing array of perspectives from which to view the action.
And there was so much to see. Walls and rooms on wheels appeared seamlessly to promote and to block off the views, forcing the audience to look up to the screens as well as peering voyeuristically through the windows of the various rooms of the house. It was that aspect that felt the most immersive and it appeared that the characters, though apparently unaware of the eyes feasting upon them, nevertheless played to the audience.
Du Yun’s musical variety is astonishing and the ten musicians sounded like an orchestra of a hundred at times. There was plenty of close harmonic work, electronic shrieks, unstoppable tribal percussion, and dazzling solos to complement the singers, together with moments of silence, just as effective as the sound left behind the singers.
Allison Cook, as Mrs XE dominated the singing with her every entry. Her portrayal of an amoral opportunist was frightening in its intensity. Malevolent throughout, she pushed her weaker husband to the most violent actions, rewarding him with only contempt. Indeed, her aria about her pathetic life justifying her subsequent actions underscored her self-belief that she had done no wrong. Her magnificent voice and purposeful acting stole the show. The vocal range of Rodney Earl Clarke was just as impressive. The depth of sound lit up the arena, alternatively impressively regal, waveringly weak and, as the debauchery reached its peak, he even threw in an extraordinary impersonation of Louis Armstrong! Matthew McKinney and Mariam Wallentin as the innocent angels, both had their desperate moments in the spotlight, fighting against the sordid madness that surrounded them. Their ubiquitous fearful state of mind must have been extremely draining to maintain, but they both convinced every time. The last soloist, the Male Soprano Keith Pun, played the enigmatic watcher angel who, with an emotional stillness, calmly (and achingly beautifully) commented on the actions before him.
Another aspect to immerse the audience was the strident lighting that followed the events and also forced visibility on the audience who were not to be left in peace to watch the production. From the simplicity of the bare opening scene with the two wounded angels, to the raucous deep pulses underpinned by painful dazzling white flashes to hurt the eyes.
Overall, this production had everything derived from horror moments in media history. It had an intensity that, once it took hold, never relinquished for a moment. It was, at times deeply unsettling, and almost unbearable to watch, but all the while magnificently acted and sung with a feast for the all the senses. Director Kip Williams deserves immense credit for the visionary planning of the scenes, playing both on the emotions and sordid nature of the plot.
The run continues for a week in Manchester, relocating to the London Coliseum in the Autumn. Don’t miss it (but have a drink first!)
John Byrne
Featured Image: The Cast of ENO’s Angel’s Bone © Tristram Kenton
Cast:
Mrs XE – Allison Cook
Mr XE – Rodney Earl Clarke
Boy Angel – Matthew McKinney
Girl Angel – Mariam Wallentin
Male Soprano – Keith Pun
On-stage Camera operators – Michael Barnes, Matthew Coulton, Rachel Laird
BBC Philharmonic Orchestra players – Midori Sugiyama, Philip Heyman, Hannah McFarlane, Alex Jakeman, Christopher Redgate, Elliot Gresty, Gary Farr, Chris Barron, Sophie Hastings, Toby Carr
Production:
Director – Kip Williams
Set and Costume designer – Marg Horwell
Lighting designer – Jack Knowles
Video designer – Ash J Woodward
Sound co-designers – Dominic Bilkey & Joseph Reiser
Fight director – Brad Wendes
Intimacy coordinator – Ingrid MacKinnon
Wellbeing practitioner – Noelle Adames (The Artist Wellbeing Company)
Kantos Chamber Choir director – Matthew Quinn