Giasone: Francesco Cavalli (1649)

Cavalli: Giasone

★★★½

(Opéra Royal de Versailles, 9 March 2018)

The dauntless Argonauts came to the shores of Colchis in search of the Golden Fleece, but their heroism has been put on hold. For the last year they’ve been kept kicking their heels while their leader, Jason, diverts himself with a mysterious woman. He might be thoroughly enjoying himself but, as his fellow Argonaut Hercules tells him, it’s time to move on. But Jason’s romantic adventures prove harder to shake off than he anticipates, when it transpires that his secret lover is none other than Medea, Queen of Colchis. To make matters worse, his fiancee Hypsipyle, Queen of Lemnos, has grown tired of waiting for him and is coming to fetch him home. Did I mention that Jason has also given each woman twin sons? Amidst the glitz and glitter of Versailles’s Opéra Royal, everything was about to hit the fan in a very, very Baroque fashion.

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Elena: Francesco Cavalli (1659)

Cavalli: Elena

(Aix-en-Provence, 2013, with Leonardo García Alarcón and Cappella Mediterranea)

How do I begin to describe Elena? It definitely isn’t your average opera. Imagine a Baroque cross-dressing operatic romantic comedy, with importunate lovers (plenty), pirates (sort of) and bears (briefly). How can you refuse something so gloriously over-the-top? Performed with gusto by a brilliant young cast, many of whom have since made names for themselves all over Europe, this charming, rambunctious, occasionally downright daft production from the Aix Festival is in a genre all by itself.

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