Partenope at London Coliseum
Christopher Alden’s Olivier-winning Partenope has lost none of its heart since its debut at London’s Coliseum 16 years ago. First performed in 1730, this George Frideric Handel romantic comedy is a gloriously curious story of gender flux and performative desire set in a 1920s surrealist playground. The three-act, three-and-a-half-hour opera’s set design features a delightfully Dali-esque blank canvas and minimalist staircase as the centrepiece for act one. The visual language is powerful in its simplicity: a hat moves of its own accord, and toilet paper transforms into an absurdist installation. Jon Morrell’s costumes are meticulously expressionist, both in terms of gender and the glamour of the period. With sharp, tailored tuxedos and luxurious, slinky silks, the oscillation between masculine and feminine is distinctly articulated, making it palatable to a 2025 audience – although opera seems to be a dying art, judging by the more senior audience.
The lead soprano, Nardus Williams’s portrayal of Partenope was truly captivating and nothing short of sensuous. Her allure and her air of coquetry engulfed the theatre, along with her masterful vocals that seemed to float from the ornate da capo arias with ease, and not to mention, superb control. Countertenor and suave seducer, Arsace (played by Hugh Cutting), is a man slightly cowed by his own bad decisions. He is both scorned at by Rosmira and Partenope whilst being irresistible to them; a poignant moment occurs in act two where his solo outpourings of guilt and temptation are expressed through his skillful use of coloratura. Christian Curnyn’s (who was unfortunately taken ill during the first act) orchestral wizardry was not only a homage to the period instruments, such as the majestic theorbo that almost took over the pit, but also a modern adaptation of baroque charm and elegance, which also complemented the operatic explosions and emotional tension of this genderbending love quadrangle.
English National Opera’s Partenope is seductive in its strangeness and awkwardness. The combination of Handel’s score, Amanda Holden’s translation of the libretto and Alden’s keen eye for taking century-old operas and turning them into contemporary gold, both calibrate and contrast to create this witty, ravishing and oddly unsettling revamp of classical romantic dilemmas and mistaken identities.
Nina Doroushi
Photos: Lloyd Winters
Partenope is at the London Coliseum from 26th November until 6th December 2025. For further information or to book, visit the theatre’s website here.
Watch the trailer for Partenope at the London Coliseum here:
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