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Clint van der Linde (Cesare) and Susanna Hurrell (Cleopatra) in ETO’s Giulio Cesare.
‘Outstanding’: Clint van der Linde (Cesare) and Susanna Hurrell (Cleopatra) in ETO’s Giulio Cesare. Photograph: Tristram Kenton/The Observer
‘Outstanding’: Clint van der Linde (Cesare) and Susanna Hurrell (Cleopatra) in ETO’s Giulio Cesare. Photograph: Tristram Kenton/The Observer

The week in classical: Giulio Cesare; Susanna – review

This article is more than 4 years old

Hackney Empire, London; Linbury theatre, London
English Touring Opera hits the road with a top-notch production of Handel’s Giulio Cesare, while his Susanna finally returns to Covent Garden

Two very different approaches to Handel found their way on to London stages last week; one sure-footed and graceful, the other awkward and graceless, but each offering brilliant vocal showcases for several countertenors to peacock their prodigious talents, and both displaying just how blessed we are for top-class period instrumentalists.

The ever-admirable English Touring Opera is off around England again, celebrating its 40th anniversary with a spring season encompassing Handel’s Giulio Cesare, Bach’s St John Passion and Mozart’s Così fan tutte. Director James Conway’s Cesare is an entirely successful reworking of his 2017 production, which had spread the opera (it’s very long) over two nights. Sensitive editing has brought it down to one evening, heightening the drama and giving it a welcome, though at times almost breathless, drive.

Giulio Cesare has defeated Pompey in his campaign to capture Egypt, but the scheming King Tolomeo dishonours his victory by presenting him with Pompey’s severed head. Pompey’s widow, Cordelia, and son, Sesto, vow to avenge his death, while Cleopatra, Tolomeo’s sister, sees her chance to side with Cesare and grasp Tolomeo’s crown.

Handel takes this seething, treacherous snake pit and gives each character demanding, rapid-fire arias of anger, anguish and turmoil. Outstanding talent is required, and ETO responds with an exceptional cast, including three classy countertenors. Clint van der Linde makes an implacable Cesare, singing with noble grace, dispatching high-wire arias with ease; Paul-Antoine Bénos-Djian, as Tolomeo, has more character in his voice, but also more licence to use it – his Tolomeo is a crazy, double-dealing, vicious tyrant in a silly wig – while sweet-voiced Alexander Simpson, as Nerino, guides Cordelia and Sesto, magnificently sung by mezzos Ann Taylor and Kitty Whately, to take their revenge.

Outshining even these big hitters is soprano Susanna Hurrell, simultaneously coquettish, petulant and radiant as Cleopatra, who wins the audience’s heart as surely as she wins Cesare’s. And dynamic, cohesive and intelligent conducting from Jonathan Peter Kenny draws some superb, drily acerbic playing from the period instrument Old Street Band. The action – neatly transferred to Handel’s time, all frock coats and mantuas – takes place within Oliver Townsend’s admirably sparse set, with Mark Howland’s subtle lighting making it glow with the shimmer of old gold. Giulio Cesare is on the road all spring. It’s a hit. Don’t miss it.

There was more incisive period instrument playing last week from the London Handel Orchestra, in the pit at the Linbury theatre, Covent Garden, for Handel’s oratorio Susanna, staged as an opera to launch this year’s five-week London Handel festival. This co-production with the Royal Opera showcased current Jette Parker Young Artists, and sought to bring the ancient tale of Susanna and her mistreatment at the hands of so-called Elders into a modern #MeToo focus. It’s a timely idea, but one marred by Grace Smart’s cluttered and awkward design and Isabelle Kettle’s fussy and at times clumsy direction.

Susanna, warmly sung by soprano Masabane Cecilia Rangwanasha, lives in an impoverished Cornish fishing village caught in an environmental catastrophe, where the daily catch is more likely to be floating plastic than fish. Her tumbledown cottage sits centre-stage, getting in everyone’s way. At one point the entire cast is made to squeeze into her tiny kitchen, as into a telephone box; at another she hops up on the draining board to sing. The chorus has to enter single-file, or clamber over the rocks behind. None of this does much service to one of Handel’s most brilliantly subtle scores.

Masabane Cecilia Rangwanasha (Susanna) and Patrick Terry (Joacim) in Susanna at the Linbury theatre. Photograph: Tristram Kenton/The Observer

Left alone to bathe, Susanna is taunted and sexually abused by lusting old village men who then outrageously accuse her of adultery, a charge too eagerly believed by a chorus of weary fisherfolk, in a parallel with Britten’s Peter Grimes. It’s not until we get to Act 3, and the clutter is swept away, that the production settles down and properly responds to the music, matching the dignity with which Susanna rebuffs her vile tormentors.

The fast-rising countertenor Patrick Terry sings Susanna’s husband, Joacim, with an easy grace, his mellifluous voice flexible and consistent throughout its range. Michael Mofidian, as Susanna’s father, Chelsias, and Blaise Malaba, as one of the seedy Elders, both impress in their weighty bass roles. Soprano Yaritza Véliz, as Daniel, sings with aching beauty, yet renders the English text almost unintelligible. However, no praise can be too high for 28-year-old conductor Patrick Milne and his players, bringing to life a score not heard at Covent Garden since its premiere there in 1749. They alone make it worth the wait.

Star ratings (out of five)
Giulio Cesare ★★★★★
Susanna ★★★

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