Defining Beauty: The Greek Body (2015)

Defining Beauty: Discobolos

(British Museum, London, until 5 July 2015)

I’ve been terribly lax at writing about exhibitions recently, and this post is actually far too late because the show has just closed. Nevertheless there were such beautiful things on display that I still wanted to write a little about it; and I hope some of you had the chance to see it. The theme was, very simply, the body in Greek art; but it went beyond the predictable athletic male nude, which for the Greeks, and for so many cultures since, has been the pinnacle of physical perfection. The show also looked at sculptures of the female body, whether divine or mortal; at representations of the body throughout the life cycle; and at sculpture on different scales and in different modes, from heroic to comic.

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Catone in Utica (1728): Leonardo Vinci

Vinci: Catone in Utica

(Opéra Royal, Versailles, 19 June 2015)

★★★

Versailles. The very name conjures up opulence and the Opéra Royal, nestled within the palace, is no exception. It’s a jewel-box of gold and crystal, festooned with chandeliers. Simply walking into our loge took my breath away, and I was glad of it. I’d waited for this night for nine months, having impulsively booked tickets three days after I first watched Artaserse. It was an expensive leap of faith. Now, tucked into the velvet-lined corner of our box with a superb view of the stage and orchestra pit (conveniently close to those fabulous horns), I was about to find out if the wait had been worthwhile.

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Franco Fagioli: Arias for Caffarelli

Franco Fagioli

(Konzerthalle Ulrichskirche, Halle, with Il Pomo d’Oro, 7 June 2015)

So, we’d started off the weekend with (arguably) the most famous countertenor in the world and we closed it in dazzling fashion with the most formidably talented: the crown prince of coloratura. In the high-vaulted surroundings of the Ulrichskirche, Halle’s church-turned-concert hall, Franco Fagioli was on fine form as he returned to the programme of his 2013 Caffarelli album. It proved to be a delightful complement to the Porpora recital we saw at the Wigmore back in September and, with orchestral support from the ever-vivacious Il Pomo d’Oro, directed by Riccardo Minasi, it made for a deliciously exuberant evening.

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Alessandro (1726): George Frideric Handel

Handel: Alessandro

★★★★

(Goethe-Theater Bad Lauchstädt, with Armonia Atenea and George Petrou, 6 June 2015)

On Saturday afternoon, with the mercury rising above 30°C, we headed off to the Goethe-Theater at Bad Lauchstädt for our second staged opera of the week. This time it was the Parnassus production of Handel’s Alessandro, which is already something of a modern classic. Like Lucio Cornelio Silla, this staging sets the story in the 1930s, but its playful and vivid spirit couldn’t be more different from Handel’s tale of tyranny. Unfolding beneath a proscenium arch of Art Deco splendour, Alessandro presents us with the bristling egos and squabbling actors of the Golden Age of Hollywood.

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Lucio Cornelio Silla (1713): George Frideric Handel

Handel: Lucio Cornelio Silla

★★★½

(Oper Halle, with Händelfestspielorchester Halle and Enrico Onofri, 5 June 2015)

Tickets had all sold out and we’d accepted that we weren’t going to get to see this staged revival of Handel’s rarely-performed 1713 opera (there’s only one extant recording, from 2000, with James Bowman as Silla). And then, during the interval of Jaroussky’s concert, I got chatting to some fellow English travellers, who just happened to have two tickets going spare for the following night and very generously offered them at a discount. And so, slightly dazzled, we found ourselves at the premiere in absolutely splendid seats in the centre of the stalls.

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Philippe Jaroussky: Festival Concert

Philippe Jaroussky

(Georg-Friedrich-Händel Halle, with Orfeo 55 and Nathalie Stutzmann, 4 June 2015)

In early June, all Baroque roads lead to Halle in Saxony-Anhalt, which holds an annual Handel festival in honour of its most famous son. As a Londoner by adoption, I confess to a slight sense of possessiveness over Handel, who moved away from Halle at the age of eighteen (as opposed to the 47 years he spent living and working in London), but I suppose we can share him. And it is true that Halle’s festival feels considerably sleeker and higher-profile than London’s equivalent earlier this year: there are posters and banners everywhere; every performance was packed with people; and the programme featured a positive galaxy of international Baroque talent.

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Sword at Sunset (1963): Rosemary Sutcliff

★★★★½

More than half a century after the last legions marched out of Britain, a man lies dying in a monastery, with apple trees stirring in the wind beyond his window. His name is Artos, and he has been many things: bastard-born nephew and adopted son of the old High King, Ambrosius; the Count of Britain; the leader of the Companions, a band of heavy cavalrymen sworn to his banner, who have devoted their lives to defending what remains of civilisation against the growing dark of the Saxon invasions.

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Catone in Utica (1728): Leonardo Vinci

Piranesi: The Via Appia

★★★★½

(Il Pomo d’Oro, directed by Riccardo Minasi)

Yes, ladies and gentlemen, the CD is here. I meant to wait until Versailles before posting about Catone, but I’ve changed my mind and will write separately about the recording and the performance. There are two main reasons for that. First, Valer Sabadus announced last week that he won’t be singing either at the Opera Royal or Wiesbaden: illness prevents his rehearsing. Of course I’ll miss him, but his replacement is Ray Chenez, who sounds rather exciting on the basis of YouTube clips. I’m always happy to discover a new voice.

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The Land of the Rising Sun (Tokyo)

JapanDragonHelmet

In other news, I’ve just got back from my first visit to Japan: a week in Tokyo, on business, which turned out to be one of the most enjoyable and brilliant trips I’ve ever been on. I had the good fortune to travel with some really lovely colleagues from other companies, and our hosts could not have been kinder or more eager to help: Japanese hospitality truly is remarkable and I’ve certainly now been spoiled for life as far as business trips are concerned.

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Blood of Kings (2013): Andrew James

★★½

 A Novel of Betrayal and Warfare in Ancient Persia

There isn’t much historical fiction out there about Achaemenid Persia. Trust me: I’ve looked. There’s the Athenian Letters, written by a group of friends as a commentary on Thucydides around 1740 (effectively early fan-fiction), and there are a few novels about Esther aimed at a religious readership; but that’s pretty much it.

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