Opera reviews: Luigi Rossi’s Orpheus and Handel’s Saul

/ 5 stars

LUIGI Rossi’s Orpheus, the first opera produced in France, was originally a six-hour extravaganza of dance, opera and special effects, performed in 1647 for nine-year-old King Louis XIV.

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The neglected opera reveals itself as a glittering jewel at the Sam Wanamaker Theatre

Luigi Rossi’s Orpheus, the first opera produced in France, was originally a six-hour extravaganza of dance, opera and special effects, performed in 1647 for nine-year-old King Louis XIV. 

Its huge cost wrecked France’s finances and set off a rebellion.

Now, reduced to three hours, it has been adapted for the tiny Sam Wanamaker Theatre, where the neglected opera reveals itself as a glittering jewel. Director Keith Warner uses the baroque, candlelit setting to advantage, and Nicky Shaw’s attractive costumes are historically accurate.

The original libretto by Francesco Buti gets a witty translation from Christopher Cowell and is finely performed. 

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Luigi Rossi’s Orpheus, the first opera produced in France

The tale centres more on Eurydice than on Orpheus and introduces a rival suitor, Aristeus, championed by Venus. After Eurydice rejects Venus’s choice and marries Orpheus, the vengeful goddess of love sends a poisonous serpent to kill her.

Aristeus, feeling instrumental in Eurydice’s death, commits suicide and Jove grants Orpheus and Eurydice immortality as stars in the sky. Australian soprano Sky Ingram is outstanding as a dominatrix Venus, who is constantly in dispute with Keri Fuge’s cheeky Cupid. Mary Bevan as Orpheus, suffering from a throat infection, acted the role on the first night, while Siobhan Stagg delivered the part impeccably from the gallery above.

With Louise Alder’s forthright Eurydice and Caitlin Hulcup’s scheming Aristeus, plus Royal Opera Young Artists Lauren Fagan, Jennifer Davis, and emerging from our music colleges.

Graeme Broadbent brings his outstanding dark rich bass to the roles of Satyr and Pluto and tenor Mark Milhofer is hilarious as Venus disguised as an old crone. There is excellent playing by the Orchestra Of Early Opera under Christian Curnyn. 

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Saul: The standard of singing and acting is of the highest order

Glyndebourne Tour is one of the bargains of the year. Stalls seat for last summer’s production of Handel’s oratorio Saul cost a fraction of the Festival price. Virtually the only difference to Barrie Kosky’s over the top staging, revived by Donna Stirrup, is the scrapping of some hydraulics. There are changes of cast, but the standard of singing and acting is of the highest order. 

Bass-baritone Henry Waddington as King of the Israelites gives a masterly portrayal of a tormented mind. When the young shepherd David returns in triumph from slaying Goliath, we see Saul’s jealousy mutate into psychotic rage. The malevolence in his eyes as he dissembles to the man he intends to murder is chilling. 

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Saul: Handel would have approved

Award-winning countertenor Christopher Ainslie brings out David’s underlying compassion towards the troubled King, and tenor Benjamin Hulett is excellent as Saul’s son Jonathan. 

Sarah Tynan as haughty Merab and Anna Devin as David’s bride Michal are crystalline in tone, while Stuart Jackson is suitably deranged as the High Priest/Master of Ceremonies. 

With baroque specialist Laurence Cummings conducting Glyndebourne Tour Orchestra, we are in the best of hands. Handel would have approved.

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