Setting The Tone
Opera impresario Ellen Kent returns to the Liverpool Empire with two lavish productions in February
C
urrently touring three productions with the Chisinau National Opera and National Philharmonic, Ellen will present the Verdi operas Aida
and Nabucco to the Liverpool audience over two nights. Renowned for her visually spectacular productions, the Empire will play host to large scale pyrotechnic and lighting displays and stun- ning scenery depicting ancient Egypt and the Hanging Gardens of Babylon. As such, Ellen believes the Empire is the ideal
venue for her productions. She said: “Te Em- pire is such a big venue, so it will look fabulous. I have got some fabulous set designs – the best in the whole of Britain – and my Aida and Nabucco sets are huge.” Verdi’s Nabucco, to be performed on Friday 7th
February, is a tale of destruction, revenge and jealousy, following the plight of the Hebrews as they are forced from their homeland into exile by the Babylonian King Nabucco. Te following evening Ellen will present her
grandest and most elaborate opera: Aida. Te classic love story will showcase the grandeur of Ancient Egypt, with imposing sets, special ef- fects and even fire spinners.
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Ellen, whose production company is also tour- ing the UK with La Boheme, said: “Te people of Liverpool will definitely not be disappointed if they remember the Carmen I brought in last spring. I’ve had very good reviews for the tours coming in to Liverpool. I’ve never had such consistently good reviews. Nabucco is something of an aficionado piece and not as well know anymore. Aida has become a runaway success but Nabucco is the really good piece and it needs people to come and see it.” Ellen, who was born in India, began producing
“I like to have fun, even with very serious operas”
opera some 20 years ago with the Romanian National Opera. While working in Eastern Europe she was introduced to the Chisinau National Opera in Moldova, with whom she has worked ever since. Having developed her own rep company she has become a prolific director and producer of operas, working in conjunction with the National Opera and National Phil- harmonic and sourcing talent from around the
world to join the ensemble. She has done more than most to introduce opera to a wider audience in the UK and has always adopted an uninhibited approach to pro- ducing the great works, even using live animals on stage. Ellen said: “I’ve been doing the British tour since 1994 and in that time I’ve probably played for over 4,500,000 people. Tese people keep coming back.” Tough she admits she doesn’t know how she’s
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