Giulio Cesare: George Frideric Handel (1724)

Handel: Giulio Cesare

(directed by David McVicar, Glyndebourne, 20 July 2018)

It’s always nerve-racking when you go to see something you love live for the first time. What if it doesn’t live up to expectations? What if one of the cast has a sore throat? What if, horror of horrors, the manager comes onstage to announce a substitution? But at the same time, how can you resist? My opera buddy H and I had decided that we would pay virtually anything to see the revival of David McVicar’s marvellous Giulio Cesare at Glyndebourne, and our resolution was put to the test when the more affordable seats were snapped up within seconds after going on sale. However, our budget-stretching seats in row B were absolutely worth the cost. Many of the cast from the 2005 production returned, with Sarah Connolly triumphant in the title role, and we could admire every little detail. Coupled with a lavish picnic and a gang of equally excited friends (inevitably christened Team Giulio), it made for a perfect day out, and I can promise you that it did live up to all those months of anticipation.

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La Clemenza di Tito: Wolfgang Amadeus Mozart (1791)

La Clemenza di Tito

★★★★ ½

(Glyndebourne, 31 July 2017)

As the overture plays, we watch two boys running through a wheat-field on grainy old film: the older one dark and responsible; the younger, blond and cherubic. The older boy teaches his friend how to use a catapult fashioned from a v-shaped stick, aiming at an old bottle, but the little one isn’t content until he spots a magpie perched in a tree. His aim is too true: the magpie falls. The spot of blood on its breast is the only hint of colour as the music comes to an end and gathers itself ready for Act I. This strangely haunting little film was our introduction to Glyndebourne’s Clemenza di Tito: a fantastic production which places renewed emphasis on the troubled relationship between the emperor Titus and his boyhood friend.

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Xerxes: George Frideric Handel (1738)

Anna Stéphany

★★★★ ½

(Early Opera Company at St John’s Smith Square, 18 November 2016)

With only one production so far this year, I’ve had Xerxes withdrawal symptoms, but fortunately the Early Opera Company and Christian Curnyn were there to save the day with a concert performance at St John’s Smith Square last Friday. This was billed as a concert version of their truly excellent studio recording from 2013, but in fact the entire cast is different, with one crucial exception: Anna Stéphany as the brat-prince himself. The change of cast didn’t matter, however, as EOC drafted in some of the brightest young things around, and the result was classy, perfectly-paced and probably (on balance) the best-sounding Xerxes I’ve yet heard live. Coming from me, that’s high praise.

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