(London Handel Festival; Linbury Theatre at the Royal Opera House, 5 March 2019)
The Biblical story of Susanna is very timely. A beautiful woman in a happy marriage is targeted by two powerful elders in her community while her husband is away. When she rejects their sexual advances, they revenge themselves by publicly accusing her of adultery with a mysterious third person, destroying her reputation and bringing shame upon her family. She is condemned to death but, in the nick of time, is rescued by the youthful prophet Daniel, who interrogates the elders, exposing inconsistencies in their stories. Susanna is vindicated and the two elders condemned to death in her place. At the risk of sounding frivolous, this is the #MeToo oratorio, and any director handling the story in the present climate will be forcibly aware of the parallels. This new production from the Royal Opera House, which features singers from the Jette Parker Young Artists programme, is a little too eager to demonstrate its social conscience. It tackles not only the sexual exploitation of women (as expected) but also (less logically) the climate crisis. The result is weighed down by concept, which – at least on the first night – risked distracting attention from the grace and variety of Handel’s music.