ENO: ALBERT HERRING - The Lowry, Salford (21/10/25)

English National Opera kick off their debut Salford season with a bang

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Almost 50 years after his death, it's fair to say that Benjamin Britten is firmly cemented as one of the foremost 20th century British composers, especially when it comes to his operatic exploits, as well as his work with his two closest collaborators, the tenor Peter Pears, and librettist Eric Crozier, the latter with whom he teamed up to write the three-act comic opera "Albert Herring" in the mid 1940s.

The work is certainly one of the more light hearted in Britten's operatic canon, telling the story of a young greengrocer's assistant, his overbearing mother come employer, and his drastic personal turnaround after being voted "May king", after it becomes clear that none of the prospective female candidates were deemed suitable for the annually voted honorary title in the tiny fictional market town of Loxford, East Sussex. Originally set around the turn of the 20th century, this particular production has reimagined it to be staged in a more modern time, however the premise and execution thereof still works well when one takes into consideration the often tight-knit nature of more remote communities.

Caspar Singh and the company of "Albert Herring" (credit: Genevieve Girling)

This particular production leans heavily into the humour of the piece, with some terrific across the board comic acting performances of Crozier's superbly witty libretto, especially from the three child characters, played with marvellous youthful vim and verve by Natasha Oldbury, Abigail Sinclair and Lucien Flutter. "Albert Herring" is a far cry from the typically dramatic outpouring with which Britten is far more synonymous, and though not as revered as works like "Peter Grimes" or "Billy Budd", this delightful comedic piece has plenty to admire, and the considerable comedy chops on display is a testament to Britten and Crozier's cohesion and versatility as a pair. Also worth highlighting is the solitary actor (Ashton Hall) at downstage right, playing the part of a stage manager at a desk, injecting an additional layer of humour with amusing aplomb.

One can't discuss the ENO without mentioning just how phenomenal an orchestra they sport during this performance; with only 14 musicians in the pit, under the masterful direction of Daniel Cohen, they give the auditory illusion of an ensemble two or three times the size, such is the quality of players boasted by the company. They exquisitely express Britten's remarkably sophisticated score, with his signature mastery of characterisation, textures, and blending of comedic and serious notes, as well as how he manages to meld various different musical genres together. Most notable of these is the influence of old English folk music, lending itself splendidly to the rural setting.

The company of "Albert Herring" (credit: Genevieve Girling)

Herring himself is truly an enigma, from the build of suspense in the initial scene surrounding this mysterious figure, to how we are introduced to him, though presented as a somewhat simple character, we soon learn there are more layers to this young man living under the thumb of his overbearing mother, especially as we enter the third act after the newly crowned as May King experiences a major personal epiphany. All of this complexity is portrayed with consummate conviction and flair by Caspar Singh, in a performance of musical, vocal and acting maturity.

As first impressions go, with world class performances, magnificent direction by Antony McDonald,there is little more that can be said to convince Salford audiences that this could be the start of something special, and with a new north west residency currently in the process of being established, the ENO have clearly begun as they mean to go on, with a production of wonderful charm and wit to whet our operatic appetite.

★★★★☆ (4*)

"Albert Herring" plays at the Lowry on the 21st and 22nd of October

{PR/Gifted ticket}