Berenice (1737): George Frideric Handel

Handel: Berenice

★★★★★

(London Handel Festival; Linbury Theatre at the Royal Opera House, 30 March 2019)

The newly-restored Linbury Theatre at the Royal Opera House is currently playing host to a very special production. It isn’t often that you get to see Baroque operas performed on the same site where they were premiered, but that’s the case here with Handel’s 1737 opera Berenice, a feast of love, jealousy and political ambition set in Roman-era Egypt. Sumptuously costumed in 18th-century gowns, wigs and frock coats, an excellent cast plunges into this tale with enormous gusto, under the expert baton of Laurence Cummings, directing the London Handel Orchestra. Vivid, exuberant and presented in a perfectly-pitched English translation, this is easily the most fun I’ve had in a theatre since last year’s Giulio Cesare at Glyndebourne. Baroque heaven.

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The School of Jealousy (1778): Antonio Salieri

Salieri: The School of Jealousy

★★★★

(Bampton Classical Opera at St John’s Smith Square, 12 September 2017)

Full of wit, farce and playfulness, The School of Jealousy was an instant hit, becoming one of the best-loved operas in Europe within a decade of its premiere in 1778. It told a story that was immediately accessible: a jealous, bourgeois buffoon locks away his pretty wife, only to bring her to the attention of a philandering nobleman. It’s a tale of love, lust and forgiveness, scripted by the poet Caterino Mazzolà and tweaked here and there by the young Lorenzo da Ponte. Musically, it sparkles: vivacious, ironic and colourful, it shows that Salieri in his prime was already a master of the comic idiom that would become indelibly associated with a certain younger contemporary of his.

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