The Judgement of Paris (1742): Thomas Arne

Bernstein: The Judgement of Paris

(Brook Street Band at St George’s Hanover Square, 6 April 2018)

Some of you may remember that I saw Thomas Arne’s pastoral comedy The Judgement of Paris two summers ago, in the beautiful rectory garden at Bampton. This production for the London Handel Festival may have lacked the bucolic surroundings, but it made up for it in the quality of the cast, which marshalled a real dream team of young British singers. Yet the evening had a surprise in store: a bit of audience interaction, which pitted Arne directly against Handel and treated us to some highlights from the older composer’s Semele. Both The Judgement of Paris and Semele were based on libretti by William Congreve, whose sprightly, slightly rakish poetry still raises smiles.

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Calisto (1651): Francesco Cavalli

Cavalli: Calisto

★★★★

(English Touring Opera at the Hackney Empire, 14 October 2016)

On Friday night it was time for the second opera in ETO’s autumn Baroque trilogy (the first was their Battle of Britain Xerxes). This time we were going back to the mid-17th century for Cavalli’s Calisto, which on the surface is an exuberant pantomime in song about gods behaving badly in the forests of Arcadia. Beneath the raunchiness, however, this opera has a surprisingly radical message. In a fascinating pre-show talk, the director and conductor Tim Nelson explored allusions to Galileo and the defeat of faith by reason, which – if this isn’t just the result of academic over-reading – would make the apparently frothy Calisto a subversive commentary on the biggest controversy of the day.

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