The English National Opera (ENO) has opened its 2026/27 season in London with the contemporary opera *Angel’s Bone* by Chinese-born American composer Du Yun, continuing its recent efforts to present innovative works that challenge traditional opera boundaries. Originally premiered in Manchester earlier this year, *Angel’s Bone* addresses the dark themes of human trafficking and modern-day slavery through a gripping narrative and distinctive musical style.

The opera, which runs for 85 minutes without an interval, depicts two angels who have fallen to Earth and become victims of physical and sexual abuse at the hands of a troubled couple. The storyline unfolds as a tense and concentrated drama focused on exploitation, greed, and violence, with little respite or emotional warmth. The libretto, by Royce Vavrek—an American librettist known for his collaborations with major contemporary composers—underscores the relentless descent into a world marked by human cruelty.

Du Yun’s score is notable for its eclectic mix of musical elements, ranging from medieval sacred music influences to intense percussive passages, jazz, electronic music, and rock, all amplified to emphasize the opera’s urgent emotional tenor. The production utilizes amplification for both the singers and orchestra to create a powerful, immersive soundscape.

ENO’s presentation of *Angel’s Bone* reflects the company’s broader strategic push following a 2022 decision by Arts Council England requiring the company to establish a base outside London. The company chose Manchester, a move coinciding with the city becoming a political focal point, as the then-new prime minister designated it his “Number 10 North.” While some have questioned the wisdom of this mandate and its operational challenges for ENO, the company has sought to harness the mandate creatively by programming innovative works that might engage new audiences.

The London staging at the Coliseum presented challenges in replicating Manchester’s in-the-round setting. Director Kip Williams responded with inventive movable sets combined with live filming by onstage cameras projected onto large screens, creating an intimate yet dynamic visual experience. The cast’s performances were widely praised, with Allison Cook’s portrayal of Mrs XE—a central figure embodying the opera’s intense suffering—receiving particular acclaim. Support from performers Rodney Earl Clarke, Keith Pun, Mariam Wallentin, and Matthew McKinney, alongside conductor Baldur Brönnimann, contributed to a production described as emotionally harrowing and theatrically compelling.

Alongside *Angel’s Bone*, ENO’s season includes other contemporary operas by women composers—Kaija Saariaho’s *Adriana Mater*, Missy Mazzoli’s *Breaking the Waves*, and Elena Langer’s *To Die For*—in addition to new productions of Puccini’s *Tosca* and Gluck’s *Iphigénie en Tauride*. *Angel’s Bone* will be performed at the London Coliseum through October 31.