Last Updated on February 7, 2026
A Cocktail of Wit, Style and Baroque Fireworks in Partenope.
5.0 out of 5.0 starsEnglish National Opera’s new production of Partenope bursts onto the stage with a vibrant mix of musical brilliance and mischievous theatricality. Handel’s witty and unconventional opera dazzles from the very first moments, and ENO embraces its playful spirit with infectious energy and bold imagination. The score sparkles with colour, the performances radiate charisma, and the whole evening feels like a joyful rediscovery of a work that deserves to shine far more often.
Handel’s first comic opera premiered in 1730, sung in Italian and set in an ancient, mythical world. Christopher Arden’s production premiered in 2008, with set design by Andrew Lieberman and costumes by Jon Morrell, transporting us to a 1920s Parisian Salon with striking Art Deco and Bauhaus furnishings and a stunning, brilliant-white set featuring a helical staircase. The players are beautifully costumed in 1920s period style outfits – a stunning Nardus Williams (Partenope) appears draped in a chocolate-toned fluid silk trouser suit, posing like an Erte bronze while Ru Charlesworth (Emilio) is a take on Man Ray and William Thomas (Ormante) provides a stabilising force for much of the Opera before evolving into a comedic duel-master in crinoline and spiked helmet. It’s a convincing and visually impactful contemporisation.
The original plot for Partenope remains intact. The Opera follows the confident and quick-witted Queen Partenope as she navigates a whirlwind of admirers who all compete for her heart with increasingly outrageous determination. Among them are the ardent Prince Arsace (Hugh Cutting, who we last saw at Garsington Opera in a stunning Rodelinda), whose past lover Rosmira (Katie Bray) arrives in disguise to expose his faithlessness, Emilio, who threatens war when she rejects him, and the devoted Armindo (Jake Ingbar), who quietly hopes his sincerity will win her over. Mistaken identities, duels, jealous outbursts and heartfelt confessions collide in a lively tangle of romance and rivalry, all driven towards a delightfully satisfying resolution where true feelings finally rise to the surface.
Vocally, this is a stellar cast, with little to criticise and much to admire. It is also a production that never fails to entertain. A Handel opera featuring a top-hat cabaret routine, tap dancing, arias delivered from inside an onstage WC and even a Yazoo to accompany the original score might sound implausible, but in this staging it works remarkably well. There is a clear sense of enthusiasm from the singers, who throw themselves into the most unlikely situations while still delivering Handel’s vocal gymnastics with real style. Amanda Holden’s cheeky libretto helps too; there’s no beating about the bush when declamations of love are ‘I fancy you’ and of despair are ‘f***’…
A pure and lyrical Rosmira (Katie Bray) grew in presence as the Opera unfolded, and she ultimately revealed her true identity. Ru Charlesworth made for a provocative and disruptive Emilio, while Jake Ingbar’s Armindo offered a puppyish charm, rolling down the stairs yet singing with immaculate control.
Nardus Williams bridged mainstream opera and baroque with ease, her sumptuous voice matched by a commanding stage presence. As Partenope, she was fully persuasive, a surrealist muse with a sharp intellect to match. Opposite her, Arsace became increasingly distraught.
Hugh Cutting delivered an exceptional performance, moving from the wary, sardonic mood of Love Is a Deception (L’amor è inganno) to the explosive emotional unravelling of Raging Destruction / The Wind Blows Wildly, a showstopping descent into turmoil and near-madness complete with vocal leaps and dramatic breathing that proved to be the highlight of the evening. That is, until his lyrical and tender I’ll Leave, Cruel Woman (Ch’io parta? Sì, crudele, parto, ma senza cor) brought a different kind of intensity.
At the first performance of Partenope, conductor Christian Curnyn fell ill and was seamlessly replaced from Act II onwards by William Cole, the Assistant Conductor. The English National Opera orchestra, bolstered by an additional continuo and orchestral harpsichord, occasionally felt overpowering. While early music in the largest theatre in London remains a challenge, this production offers Baroque with a capital B.
There’s much to love and nothing to hate in this glorious production of Partenope. Whether you are a fan of baroque or not, it’s an evening of pure entertainment where you can easily forget that the original opera was written in the 18th century and where the run time of just over three hours races past. It’s the last but one production from ENO before Christmas in a season of excellence where we’ve enjoyed every show, from Carmen to Dead Man Walking and one where ENO regulars will be delighted to see two ex-Harewood artists on stage (Nardus Williams and William Thomas).
Partnenope runs from Thursday, 20th November 2025, through to December 6th, with six performances.
Performed in English with surtitles projected above the stage.
For further information, visit www.eno.org.
English National Opera
London Coliseum
St Martin’s Lane
London
WC2N 4ES
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