A sell-out run for its first outing in 2016 and, indeed, for its first revival in 2019, Phelim McDermott’s Olivier Award-winning production for ENO of Philip Glass’ Akhnaten - the last of the composer’s trilogy of ‘portrait’ operas in which he explores the lives of three great historical figures: Einstein (science), Gandhi (politics), Akhnaten (religion) - is a sell-out, too, for its second revival.  

Therefore, boo to those who bemoan the fact that the London Coliseum’s vast auditorium is hard to fill and simply too large and unworkable for some of its productions. Not for the likes of Glass, Adams and Wagner, it seems. In fact, ENO has been doing very well of late presenting the works of this masterful trio of composers.  

Always adventurous in its programming, ENO also presented the UK première of The Perfect American in 2013 while their production of Satyagraha in 2015, conducted by Karen Kamensek, an expert on the work of Philip Glass, received rave reviews.  

A fascinating work, Akhnaten focuses on the Ancient Egyptian Pharaoh’s abandonment of polytheism in favour of one God, Aten. Therefore, the opera begins seriously, ceremoniously and ritually with the death of Amenhotep III and the anointing of his son, Amenhotep IV - meaning ‘spirit of Amon’ - who later takes the name of Akhnaten - meaning ‘spirit of Aten’ - the Sun God. 

An interesting and mixed scenario comprises a range of texts drawn from ancient hymns, prayers, letters and inscriptions and sung in their original language - Egyptian, Hebrew and Akkadian - it offered an authentic account to the proceedings overall.  

Glass’ writing is soothing and spiritual and his pulsating wave-like arpeggio soundscape proved colourful and engaging, while strongly illuminating the vocal lines of an absorbing and convincing work. And with Tom Pye’s well-crafted, three-storeyed set, the overall stage picture was practical and visually pleasing all round. 

For instance, in the first act, members of the Skills Ensemble of Improbable were projected as past Gods portrayed in the art and style of Ancient Egyptian wall-paintings on the upper level while ENO’s chorus, adding a simple juggling routine to their performance, found themselves joyfully in full voice in the middle tier whilst politics was brazenly at work at base level with Akhnaten holding court with his senior advisers.  

To add to the overall flavour and atmosphere of the staging, lighting designer Bruno Poet (revival designer: Gary James) came up trumps with a strikingly rich, luminous-colour scheme of an ever-changing landscape seen from a variety of angles while Kevin Pollard created a good and distinctive wardrobe.  

For instance, the outfit for Aye, Nefertiti’s father and senior advisor to the Pharaoh, the role so admirably sung by bass-baritone, Jolyon Loy, stood out a mile! Attired in a black frockcoat and with a skeletal head prominent on his top-hat, although seemingly traditionally way off the mark, it fitted his character, nonetheless, all the same while Akhnaten’s coronation robe was an elegant wide-flowing garment bedecked with clusters of multi-coloured jewels as befitting his high-born status. 

Adding extra weight and spectacle to the production fell to the juggling skills of the Gandini Juggling Company led by master juggler, Sean Gandini. Their antics on stage were simply mind-blowing. And their respected art form also offered the production an historical perspective inasmuch as the oldest-known depiction of juggling was found in wall-paintings of the Beni-Hassan tombs from the Middle Kingdom of the Ancient Egyptian civilisation depicting scenes of women jugglers, acrobats and dancers. 

American countertenor, Anthony Roth Costanzo, reprised his role of Akhnaten (surely it belongs to him!) coming over as a rather weak but humble person attempting to change political matters in relation to his monotheistic viewpoint which, in the end, came to nothing.  

Quietly (and strongly) supporting Akhnaten (portrayed as a hermaphrodite thereby embodying the strengths of both the feminine and masculine principles) in his political endeavours was Chrystal E. Williams (making her ENO début) as his wife Nefertiti while South Korean soprano, Haegee Lee (also making her ENO début) as his dutiful but strong-minded mother, Queen Tye, brilliantly played her role in a tense-looking manner with a subtle streak of meanness surrounding  her persona.  

A rich-sounding mezzo-soprano, Williams’ voice made its mark and was heard to good effect against the clean-cut high lines of Costanzo while Lee sang her part so convincingly in an assured and comfortable performance.  

New Zealand-born Samoan baritone, Benson Wilson (Horemhab) added more vocal weight to this invigorating and well-conceived production while another fine British tenor, Paul Curievici, delivered a good reading of the High Priest of Amon and Zachary James (who created the role of Abraham Lincoln in the world première of The Perfect American) reprised his role of the Scribe, delivering the English text in a clear, precise and articulate way.  

The Six Daughters of Akhnaten - sopranos Ellie Neate and Ella Taylor, mezzo-sopranos Felicity Buckland and Lauren Young in company with a couple of current ENO Harewood Artists: soprano Isabelle Peters and mezzo-soprano Amy Holyland - put in fine performances, too. Really, there was not a weak link in the performing chain. 

And one of the production’s significant values came in the scene of the Window of Appearances (framed by a strong white neon light) where Akhnaten, Nefertiti and Queen Tye make their pronouncements as the ever-changing colour of the rising sun streams into focus behind them. 

And in praise of Akhnaten’s newfound religion, he orders the city of the Horizon of Aten (Akhnaten) to be built in his honour. A delicate and tender moment arises when Costanzo sings a private prayer culminating in Akhnaten’s vision of a new religion for a new society.  

After the creation of their new city and living with their Six Daughters in a close-knit family circle, Akhnaten and his wife drop into a reclusive lifestyle. Queen Tye becomes uneasy about the situation and senses unrest by the populace who are unhappy about their Pharaoh’s self-imposed isolation. 

In a disruptive and ugly scene, the High Priests of Amon charge the palace doors to end this stalemate and Akhnaten’s daughters get caught up in the swelling mob while Queen Tye and Nefertiti get separated in the confusion of the moment. And over a heavy repetitive muffled drumbeat (the rhythmic dance of death) the end comes for Akhnaten cutting short his reign while dumping his unpopular religious philosophy. 

In fact, the ending of the opera mirrors the beginning with the body organs of the old Pharaoh being carefully removed and placed in canopic jars. The body is then embalmed and wrapped in a shroud while the Pharaoh’s heart is weighed against a feather. If it is as light as the feather, it will ensure that the soul’s journey to the afterlife will proceed calmly on its spiritual path.  

When the new Pharaoh, Tutankhamen, is crowned, he’s quick to restore the old polytheistic religion to satisfy and repel the angry mob while the ghosts of Akhnaten, Nefertiti and Queen Tye are heard murmuring from the ancient world as the final bars of Glass’ haunting score closes the opera in a serene, beautiful and dignified way.