Rupert Enticknap was strong as the guilt ridden Anassandro, singing his single aria with assurance, using the coloratura to covey both insolence and self reproach.
Enticknap’s Coloratura is clean, dashing and impressive
All soloists have been adequate to the task, starting from Rupert Enticknap (Akhnaten) dealing with one of the most extensive and demanding opera scores of the 20th century explicitly written for a countertenor lead role. The glorious Paul Esswood had been the first interpreter, whilst nowadays the young British countertenor Rupert Enticknap offers an excellent interpretation of the part, with a fresh and luminous but never pale voice which is given the opportunity to shine in one of the most suggestive passages of the entire opera - Akhnaten’s so-called “Hymn to the Sun” in the fourth scene of the second act – invigorating it with fascinating and hypnotic breath.
Countertenor Rupert Enticknap, singing Olindus, showed a very versatile instrument of noticeable warmth, and easily dispatched the formidable coloratura, with a particularly fine display of vocal pyrotechnics in his aria “Di pur ch’io sono ingrato”. A dramatic approach to phrasing, a pleasant vibrato, and obvious chemistry with Eloff made his performance compelling. For sheer pathos, his ‘break-up’ aria “Parto bel ido mio” was remarkable (interesting to note that the composer for this cannot be attributed).
Muscular, agile and strongly projected, Enticknap is one of the most exciting young countertenors around