|Benedict Andrews' production of La Boheme at Dutch National Opera. |
Photo Monica Rittershaus
It is possible detect hints of ENO simply going shopping for suitable productions in this selection of co-productions, which may be a result of ENO's current economics, and can be seen as a canny way of getting greater leverage. Tcherniakov's Lady Macbeth of Mtsensk for instance is much travelled, having been created for Deutsche Oper am Rhein, this outing is a co-production between ENO and Opera de Lyon. Norma is borrowed from Opera North for whom it was created (with Die Theater Chemnitz). Calizto Bieito's new Force of Destiny is a co-production with the Met in New York, and we wonder what that house will make of Bieito's particularly potent blend of Euro-trash?
All this has to be paid for, of course.