Arminio: George Frideric Handel (1737)

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★★★½

(Badisches Staatstheater, Karlsruhe, 17 February 2016)

So, by a remarkable stroke of luck, my business trip coincided with the Karlsruhe Handel Festival. By even more remarkable good fortune, Parnassus were staging their new production of Handel’s Arminio on the night I arrived and there was an excellent seat still free right in the centre of the eighth row of the stalls. As they say, it would’ve been rude not to.

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Catone in Utica: Leonardo Vinci (1728)

Vinci: Catone in Utica

(Opéra Royal, Versailles, 19 June 2015)

★★★

Versailles. The very name conjures up opulence and the Opéra Royal, nestled within the palace, is no exception. It’s a jewel-box of gold and crystal, festooned with chandeliers. Simply walking into our loge took my breath away, and I was glad of it. I’d waited for this night for nine months, having impulsively booked tickets three days after I first watched Artaserse. It was an expensive leap of faith. Now, tucked into the velvet-lined corner of our box with a superb view of the stage and orchestra pit (conveniently close to those fabulous horns), I was about to find out if the wait had been worthwhile.

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Catone in Utica: Leonardo Vinci (1728)

Piranesi: The Via Appia

★★★★½

(Il Pomo d’Oro, directed by Riccardo Minasi)

Yes, ladies and gentlemen, the CD is here. I meant to wait until Versailles before posting about Catone, but I’ve changed my mind and will write separately about the recording and the performance. There are two main reasons for that. First, Valer Sabadus announced last week that he won’t be singing either at the Opera Royal or Wiesbaden: illness prevents his rehearsing. Of course I’ll miss him, but his replacement is Ray Chenez, who sounds rather exciting on the basis of YouTube clips. I’m always happy to discover a new voice.

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The Indian Queen: Henry Purcell (1695)

Purcell: The Indian Queen

★★

(English National Opera, 6 March 2015)

Reactions to English National Opera’s new production of The Indian Queen have been mixed. Some critics have praised it as a creative and courageous reworking of Purcell’s opera, which dares to acknowledge the atrocities carried out during the colonisation of the New World. Other people (friends and colleagues, thus, ordinary theatre-goers, not critics) have expressed bafflement and rising irritation. Apparently audience members have vanished during the intervals in a number of performances. It was clearly going to be a challenging experience but, when I went last Friday, I was nevertheless determined to enjoy it. But it didn’t quite work out like that.

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