ABOUT

Helios Collective Management Ella Marchment Artistic DirectorElla Marchment – artistic director of Helios Collective and director of productions for Constella OperaBallet – has worked on over eighty opera and theatre productions throughout Europe and produced over one hundred events that span opera, ballet, musicals, concerts, theatre, comedy, workshops, club nights, art installations, and development programmes.

In 2017 Ella directed the International Opera Awards ceremony held at the London Coliseum in Covent Garden, home to English National Opera.

A big thank you to the remarkable Ella Marchment, who directed tonight’s show. Our best ever.
– International Opera Awards

Ella’s many directing credits include a groundbreaking reimagining of Purcell’s Dido & Aeneas as Dido & Belinda in London; Alexander Goehr’s Tryptich at Mariinsky II; an opera–ballet production of Stravinsky’s Renard; a lauded international tour of Sir Peter Maxwell Davies’s Eight Songs For A Mad King; London productions of Verdi’s Macbeth and A Masked Ball with Opera Integra; a semi-staging of Puccini’s Il Tabarro at LSO St Luke’s; the world premiere of Noah Mosley’s Mad King Suibhne for Bury Court Opera; acclaimed performances of Briar Kit Esme’s Hathaway – Eight Arias For A Bardic Life, Christopher Hogg’s Il Letto, Verdi’s Otello, Charpentier’s Louise, and Mozart’s Lucio Silla at Buxton Opera; and a sell-out West End run of An Evening With Lucian Freud, starring Cressida Bonas. Ella is also co-founder of Theatre N16, a London-based arts company that promotes new plays and opera adaptations.

There is no doubt that Ella will be an important part of the UK and international theatre and opera scene in years to come.
– Kasper Holten, Director of Opera, Royal Opera House

Ella has worked for world-renowned organisations, including the Royal Opera House, the International Opera Awards, Wexford Opera, Copenhagen Opera, Bury Court Opera, Opera Mass Actions, International Opera, Buxton Opera, Melos Sinfonia, and Opera Integra. She is committed to creating professional development opportunities for young and established artists, as well as to solving the problems that impact on opera’s accessibility and reach. Ella particularly enjoys presenting opera with a twist, having written and directed a play–opera adaptation of Wagner’s Die Meistersinger, staged an electric rock-opera version of Puccini’s Tosca, and established an opera club-night series, called Toi Toi, in Peckham, London.

In Ella Marchment, I see a director and artistic leader of imagination, assurance and style.
– Bernard Hughes

In 2015 Ella became the first director to receive an International Opera Awards foundation bursary. Her work is currently supported by Arts Council England and The British Council Artists International Development Fund, in association with Den Jyske Opera (Danish National Opera).

Tremendously enjoyable and accomplished…what a delightful operatic experience.
– Rupert Christiansen‏ of The Telegraph

Ella’s past, current, and future productions are detailed in her online diary.

You can find out more about Ella in the following interviews:

Or you can subscribe to Ella’s mailing list by clicking here.

2017 PRODUCTIONS

Orchestras of Auschwitz Research & Development

Director of Productions
Opera
Constella OperaBallet
Auschwitz, Poland
Jan–Feb 2017
Constella OperaBallet

Mad King Suibhne by Noah Mosley

Director
Opera
Bury Court Opera
Bury Court, Bentley, Surrey
11–12 March 2017
Tickets available from this link

Orchestras of Auschwitz Speech

Director of Productions
Opera
Constella OperaBallet
The Weiner Institute, London
20 March 2017
Tickets available from this link

International Opera Awards 2017

Director
Opera
International Opera Awards
The Coliseum (home of the ENO), London
7 May 2017
International Opera Awards

AUT Operatic Mass Actions

Director
Opera
International Living Theatre Festival
Aarhus, Denmark
20–21 May 2017
AUT OMA info here

Lucio Silla by Wolfgang Amadeus Mozart

Assistant Director
Opera, assisting director Harry Silverstein
Buxton Festival
Buxton, Derbyshire
9, 13, 16, and 20 July 2017
Buxton Festival

Lucio Silla by Wolfgang Amadeus Mozart

Director
Opera, young artists’ show
Buxton Festival
Buxton, Derbyshire
18 July 2017
Buxton Festival YA Show

Il Letto

Director
Opera
Helios Collective
Buxton Festival, Buxton
20 July 2017
Tickets available from this link

Il Letto

Director
Opera
Helios Collective
Copenhagen Opera Festival, Denmark
3 August 2017
Copenhagen Opera Festival

L’occasione fa il ladro

Director
Opera
Raucous Rossini
Touring Scotland and Italy
August 2017
Raucous Rossini

We’ll Meet Again

Director
Opera
Torre del Lago, Italy
18–19 August 2017
Raucous Rossini

Medea by Luigi Cherubini

Assistant Director
Opera, assisting director Fiona Shaw
Wexford Festival
Wexford, Ireland
19, 22, and 28 October 2017, and 3 November 2017
Wexford Festival Opera

Formations Masterclasses 2017

Artistic Director
Opera
Helios Collective with English National Opera
ENO Studios, London
9–17 November 2017
Helios Collective

Mad King Suibhne by Noah Mosley

Director
Opera
Bury Court Opera
ENO Lilian Baylis House
16-17 November 2017
Helios Collective

Sideshows by Leo Geyer

Director
Opera
Constella OperaBallet
Sadler’s Wells, London
25–26 November 2017
Sideshows

Mad King Suibhne by Noah Mosley

Director
Opera
Bury Court Opera
Messums, Wiltshire
30 November, 1–2 December 2017
Bury Court Opera

ROH Insight – Future of Opera

Guest Panelist
Opera
Royal Opera House
Covent Garden, London
December 2017
Royal Opera House

L’enfance du Christ by Hector Berlioz

Assistant Director
Opera, assisting director Fiona Shaw
Deutsches Symphonie-Orchester Berlin
Berlin, Germany
17 December 2017
Deutsches Symphonie-Orchester Berlin

REVIEWS

MAD KING SUIBHNE

  • Tremendously enjoyable and accomplished…what a delightful operatic experience.

– Rupert Christiansen‏ of The Telegraph

  • Insanely good…a magical tonic.

Farnham Herald

  • The direction was of a very high order. Ella Marchment clearly has an imagination the size of a planet, but the gravity to hold that in a sensible orbit.

Bury Court Opera Audience Feedback

  • Ella Marchment’s production helped by providing a richly imaginative but non-specific setting which allowed us to concentrate on Suibhne. Marchment and her designer, Holly Piggott, cleverly got over the problems of Suibhne’s ability to fly by making ladders a feature of the multi-level set, cleverly manipulated by the chorus. It is to Noah Mosley [composer and conductor] and Ella Marchment’s credit that the audience was held spellbound for 90 minutes and applauded enthusiastically afterwards.

Planet Hugill

  • In Ella Marchment’s extremely innovative production, good use is made of the barn setting.

musicOMH

MACBETH

  • The Bard with the music of Verdi, an interesting concept that gave us an amazing theatrical experience. Opera Integra have always been blessed with some great singers, but this production saw them really up their game on the theatrical front with some great production values that really worked to give the show impact. Truly a great piece of drama in its own right, and a truly visionary interpretation. Ella Marchment had a slightly different vision of the themes and really gave us food for thought. Using the strong chess theme was a masterstroke which was the foundation on which everything hung. The theme worked well not only for its impact but also to give us a different insight into a very familiar story.

National Operatic & Dramatic Association

Il TABARRO

  • An authentically satisfying performance.

Opera Magazine

  • This was a May Day performance of Puccini’s opera to match what one might hear in the most exalted of houses, with all the advantages of observing the action at close hand. In this concert staging, there were no sets, but there was keen, telling direction (Ella Marchment). Imaginative use was made of the space too, the chorus and certain other solos being heard from above and around, reinforcing the sense of being trapped, fatally so, upon a river barge.

– Mark Berry Boulezian

HATHAWAY—EIGHT ARIAS FOR A BARDIC LIFE

  • An outstanding and beautiful performance.

– Copenhagen Opera Festival

  • Hathaway is simply the most moving production I have ever seen.

– Copenhagen Opera Festival Audience Feedback

PRIVATE PEACEFUL

  • Ella Marchment ensured that there were a few well-thought-out touches.

Views From The Gods

  • Ella Marchment’s directing of this piece focuses on bringing out a simple story…discovering the multilayers of the story, as opposed to just focusing on one idea. The production…gives a freshness to somewhat stale writing.

toplondontheatre

AN EVENING WITH LUCIAN FREUD

  • The drama is given a deceptively brisk pace by the talented young director Ella Marchment.

The Telegraph

  • It’s a bold and engaging piece of portraiture, ingeniously directed by Ella Marchment.

LondonTheatre1.com

MARÍA DE BUENOS AIRES

  • María de Buenos Aires is an atmospherically charged performance with excellent singing and a wonderful live band. I was gripped throughout.

– Warren Edwardes

STAND AND DELIVER

  • It must be really difficult to put on a show like this…but director Ella Marchment has managed to navigate this successfully.

LondonTheatre1.com

ROBBIE’S DATE

  • Director Ella Marchment skilfully deals with the shift into seriousness and captures so many heartbreakingly bleak moments well.

Views From The Gods

ROCK TOSCA

  • Cavalier’s Rock Tosca is basically one of the best ideas anyone has ever had. Big, sweaty, loud and brilliant, rock’s ego-heavy aesthetic is ideal for Puccini’s personality-driven thriller. Ella Marchment’s direction makes the most of this, focusing us on individual characters in turn, keeping the crucial claustrophobic air of persecution in each scene while blasting us with big volume and bigger emotions.

Backtrack

SOLDIER’S TALE & RENARD

  • It is to the credit of the companies and director Ella Marchment that they took them on and did so much with them.

Bernard Hughes

  • In Ella Marchment, I see a director and artistic leader of imagination, assurance and style.

Bernard Hughes

FAÇADE & EIGHT SONGS FOR A MAD KING

  • The whole production is a vivid and forceful display of talent from the team under director Ella Marchment.

Everything Theatre

  • Maxwell Davies’s Eight Songs For A Mad King was frankly stunning.

Planet Hugill

  • This was music theatre which was vividly alive.

Planet Hugill

  • A highly imaginative and affecting double bill. Brilliantly located in a hospital for recovering World War One soldiers…faultless in delivery and dramatic emotion.

Opera Now

  • I cannot express enough my appreciation of that performance. It had me smiling all the way through by the magic of it and moved to tears by the performance throughout; how is that possible? Magic.

Ali Frias

THE BEAR GOES WALKABOUT TOUR

  • The artistic directors Oliver Zeffman and Ella Marchment are both in their early twenties, and the production was a remarkable achievement.

Fringe Opera

  • Events like The Bear Goes Walkabout are premonitions of the future of British classical music.

Broadway Baby

  • Helios Collective is something to be excited about: our music is in their hands.

Broadway Baby

  • Ella Marchment’s direction is subtle but accomplished and creative.

Broadway Baby