Richard Bratby

The sonic equivalent of a Starbucks Eggnog Latte: ENO’s It’s a Wonderful Life reviewed

Plus: Offenbach would have loved Royal College of Music's production of Orpheus in the Underworld

The cast of ENO's It’s a Wonderful Life. Image: © Lloyd Winters 
issue 03 December 2022

Whoosh! A digital starburst, a sweep of orchestral sound and the stage of the Coliseum is alive with dancing, whirling snowflakes. Floating in the heavens is the soprano Danielle de Niese; below her in the darkness, the truss bridge that we all know – because we’ve all seen It’s a Wonderful Life – is where the turning point of the story will occur, a couple of hours from now.

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