Mainly Opera and Ballet
In this Biblical tale, Jephtha is recalled from exile to defend the Israelites against the Ammonites. He is promised the role of permanent chieftain if he succeeds, and in order to ensure victory promises God he will sacrifice the first thing he sees on his return, which turns out to be his own loving daughter. …
Handel, considered this his finest oratorio though it flopped with the public, but in Katie Mitchell’s new staging it was sublimely musical, and the performance compelling. Handel’s operas tend to be a sequence of recitatives and arias, but his oratorios have a far weightier role for the chorus, as in some modern operas — my review …
This is the last of three operas Handel took from the Italian poet Ariosto’s Orlando Furioso. It involves a sorceress named Alcina who, like Circe in Homer’s Odyssey, transforms any visiting man into a wild beast or even a force of nature. He composed it for his first season at the Theatre Royal, Covent Garden, and …
This Handel opera centres on two strong women: Agrippina and Poppea, with Joyce DiDonato at the top of her game as a smoothly scheming Agrippina, and Lucy Crowe as a charmingly pretty Poppea. A very strong cast beautifully conducted from the harpsichord by Maxim Emelyanychev, but the self-indulgent production by Barrie Kosky was way over the …
A terrific home run for the Grange Festival in Hampshire, where since taking over in 2017 counter-tenor Michael Chance has encouraged superb productions of opera from the baroque period. This year was the turn of Handel’s oratorio Belshazzar, never before professionally staged in this country. See my review in The Article.
Agrippina, wife of the emperor Claudius (Claudio), is bent on securing the throne for Nero (Nerone), her son by a previous marriage. A scheming woman who manipulates her spiritually weak husband and everyone around her, she finds herself out-manoeuvred by the pretty Poppea, desired by Claudio and Nerone, to say nothing of her beloved Ottone …
The libretto for Handel’s Rodelinda, regina de’ Longobardi (queen of the longbeards, or Lombards) was written by the remarkable Nicola Francesca Haym, musician, theatre manager, performer, and even numismatist who wrote the first work on the ancient coins in the British Museum. Its huge clarity, particularly in Amanda Holden’s excellent translation, brings to life a …
When this Handel opera first opened in London in 1730 it came as something of a surprise from a composer known for his serious opera (opera seria). Despite a structure that follows that form however, its romantic complications and gender confusion make for a light-hearted comedy. Partenope, the founder of Naples in classical legend, appears …
In Ariosto’s early sixteenth century epic poem Orlando Furioso (Frenzied Roland) that forms the basis for this opera, Orlando was one of the foremost warriors in Charlemagne’s court. Torn between his love for Angelica and his duty to go to war he has a nervous breakdown. In the meantime Angelica’s love has turned to the …
When Handel first produced this oratorio in 1738 the audience would have been completely au fait with the Biblical story of Saul, the king of a people previously presided over by judges and prophets such as Samuel, who anointed him as their first king. He also anointed David as his successor, but in the oratorio …
This sixth ENO revival of Handel’s late opera Xerxes (aka Serse) is a testament to the huge charms of Nicholas Hytner’s 1985 production, which presents the complex story of amorous intrigues in a Persian court with glorious clarity. Elegant, even stunning, costumes for the main characters contrast with drab for the courtiers and striking black …
First performed in 1725 this Handel opera, set in seventh century Milan, boasted the famous castrato Senesino as Berterido, husband of Rodelinda. He has lost his throne, is now presumed dead, and his position has been usurped by Grimoaldo, who has fallen in love with Rodelinda, despite being betrothed to Berterido’s sister Eduige. Tastes have …
As a great fan of recent ENO productions I was hoping for better despite the many negative comments I had heard about this one. Julius Caesar, which deals with Caesar’s visit to Egypt in 47 BC when he was chasing Pompey and met the twenty-one-year old Cleopatra, is one of Handel’s great operas, full of rich …
The Met first produced this Handel opera in the same production in 2004 with Renée Fleming in the title role. In this live cinema screening she took on the role again and gave a wonderful performance, showing the anguish of the queen who has apparently lost her husband Bertarido in battle, and is now wooed …
Power and youthful passion are grist to the mill of Handel’s plots, and James Conway’s production is set on a World War II air base with Xerxes as the new ruler, whose enthusiasm for the Spitfire is matched by his infatuation for the lovely wartime nurse and singer Romilda. His brother, fighter pilot Arsamenes, is also …
The Siege of Jerusalem in 1099 is represented here by public schoolboys versus St. Trinian’s. Hockey sticks against lacrosse sticks. Super fun, and a rather good background for all the youthful amour and magical manipulations that form the heart of this Handel opera. The main feature of the story is that Rinaldo is in love …
On 27th April 1720, a month before his sixtieth birthday, King George I attended the opera with his son the Prince of Wales. They’d only recently reunited after not speaking to another for three years, so this was just the right opera to see.
Unfortunately [Domingo] was unavailable, but his replacement, Kurt Streit sang [Bazajet] superbly — one could not have asked for better.
Acis and Galatea is a beautiful work, musically speaking … composed as a pastoral serenata, which means it would be sung without elaborate staging, though the performers would probably have worn costumes … This staging by Wayne McGregor was frightfully elaborate, which I think detracted from the beauty of the work
Placido Domingo was wonderful as Bajazet, full of emotion and determination, and Monica Bacelli was superb as Tamerlano, looking and acting the part in the way Handel surely intended.
