Angel’s Bone review

Treated with a blend of symbolism and realism, the subject explores the troubling, often hidden crimes of modern slavery and sex trafficking, phenomena whose visibility has increased steadily over recent years.

Williams’ staging holds nothing back in its presentation of the horrific narrative. The action takes place in the round, on a circular platform. Marg Horwell’s set visualises the XE’s suburban home and what takes place there in crisp, grisly realism, underlined by three camera operators who simultaneously live-film different scenes, or the same scenes from different angles, projected to the audience on screens. Jack Knowles’ lighting adds considerably to the powerfully disturbing impact.

The chorus – the Kantos Chamber Choir – plays several different roles, from angels singing ancient church music to the orgy’s grasping, sadistic attendees. Their commitment is as obvious as that of the five principals. Cook’s monstrous Mrs XE is a true star performance, voiced with pitiless acerbity.

As her weaker, less implacably evil husband, Earl Clarke offers total conviction. McKinney and Wallentin’s angels are realised in individualised performances that evoke pity and terror.

Du Yun’s score draws on a vast catalogue of mostly contemporary styles, from modernism to electronica, punk rock to cabaret, summoning up a musical counterpart to the fierce, obscene satire on stage. Some sections are more musically memorable than others, but there’s no ignoring the deafening onslaught unleashed at crucial moments by electronic means, which comes close to shaking the building.

This is ENO’s first production to open in the city that is now its second home. Like the chorus, the orchestra is from Manchester – members of the BBC Philharmonic. Conductor Baldur Brönnimann achieves the feat of keeping everything together over the sizable distances involved, punching the score boldly out towards the audience.

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