Handel: Giulio Cesare
Orchestra of the Age of Enlightenment, William Christie
Glyndebourne Festival Opera, 10 June 2018
It is no surprise that David McVicar’s 2005 production of Handel’s glorious Giulio Cesare proved to be so popular. Revived twice in the years just after its first performance, it now, after a gap of a few years, reaches its third revival. The first night on 10 June was the 38th performance at Glyndebourne, and the remaining performances are already sold out. Handel’s opera, and McVicar’s interpretation, really do tick all the boxes, added to which is the outstanding cast of the current run (three of whom survive from the original cast) and the return of the original conductor, William Christie. Continue reading
Richard Strauss: Salome
Royal Opera House. 8 January 2018
This third revival of David McVicar’s 2008 production of Salome is directed by Bárbara Lluch and conducted by Henrik Nánási. Although I saw the ROH’s predecessor to this production in the late 1990s, this was my first viewing of McVicar’s production. He adds several additional layers to Strauss’s (and Oscar Wilde’s) already complex take on the sparse biblical/Josephus story. Although Strauss’s music is firmly rooted in the post-Wagnerian idiom of the fin de siècle pre-Expressionist era, the nature of the plot continues to disturb and shock; perhaps more so today, when it is all too easy to relate aspects of opera plots like this to present day news items, people, and social concerns.
The setting was a large rather decrepit basement with bare walls, exposed pipework and a smattering of naked young women. Anybody expecting to have to wait an hour or so for the famous dance before a flash of female flesh had ample opportunities early on – but none in the actual dance. A sweeping staircase to one side led up to an almost hidden upper dining room where Herod and friends are feasting. All the action takes place in the basement space as the upstairs party slowly descend to the depths, in more ways than one. Most of the cast remained onstage throughout, along with several non-singing actors, mostly standing around watching events unfold. Towards the end, it was male nudity that was more apparent, with the executioner, for no apparent reason, stripping to the buff before descending into the cistern to behead Jokanaan. Although silent, as depicted in the libretto and music, this turned out to be a messy affair, the executioner returning completely covered in blood, front and back, top to toe. Continue reading