Francis Gush, Julius Caesar; Susanna Hurrell, Cleopatra; Alexander Chance, Tolomeo; Carolyn Dobbin, Cornelia; Margo Arsane, Sesto; Edward Hawkins, Achilla; Kieron-Connor Valentine, Nireno . Orchestra, The Old Street Band, conducted by Sergey Rybin. Director, James Conway; Cordelia Chisholm, Designer
I went to a performance of this in Manchester about 4 years, from Opera North. Other than that, this work has pretty much escaped me as a live event – sadly the Janet Baker performances at the Coliseum I think were in 1984 – so after I went off to Egypt. I have Baker’s wonderful performance on record, and it has made me very much more enthusiastic about a mezzo in the role than having a countertenor. One thing, incidentally, that strikes me listening to that recording again is how comparatively loose and un-dynamic the orchestral playing under Mackerras seems nowadays. The period instrument band, and its approaches to performance style, can sometimes (in my view) lead to abominations in Mozart and Haydn, but with Handel, the lively playing, the energy and thrust, the speed, all seems to give a new dimension to these works. Undoubtedly the biggest element making this evening a successful one was the Old Street Band, who were outstanding – the strings energetic, pointed and stylish, some lovely oboe playing, and the horns getting through their famous Cesare aria without any glitches, and with some remarkably effective ornamentation at the end of that number.
It is interesting sometimes to go to a performance without having read the programme notes. The production was in 18th century dress and that seemed throughout the performance a sensible choice and much better than togas and ancient Egyptian gear. Reading a review afterwards it became apparent that the director James Conway had intended a Britain (Rome) and France (Egypt) dichotomy in the costumes. I’m afraid nothing of this came across to someone who hadn’t read the programme notes – so a good idea not too well executed. Likewise, the appearance of Cleopatra in a vision to Cesare was meant to represent the Virgin Mary – creating confusion and horror in the bluff mind of the English Cesare – but again this was totally opaque to me. Other than that, the direction seemed effective – there was action during many of the da capo arias but not over the top. Possibly the scene in the third act which had a still exhausted Valentine, fresh from his sea adventures, at the back, and various combinations of a sleeping Cleopatra, Cornelia and Sesto plus Cesare looked a bit messy. However, it was interesting that probably the most effective actor on stage was Cleopatra, who used her height and stage presence to often remain in stillness, without any busyness around her. The set was versatile – in fact is apparently being used for the other two operas being shown in Buxton! There was a platform at the back, with steps down to the main stage; the middle part of the platform was extended forward the audience. The platform on the back had mounted on it a series of panels that could be replaced by curtains or drawn back to reveal a screen right at the back, effectively coloured blue towards the end.
All of the singers were good- there were no weak links. For me, and it is a personal thing, Susanna Hurrell’s Cleopatra was the best performance. Partly it is because she has the best arias, arguably, and while she didn’t cast the spell a great singer would do, her singing was varied, poised, always easy on the ear, affecting when it needed to be, and she coped well with the florid elements of her arias. I was also impressed by Carolyn Dobbin, as Cornelia, and Margo Arsane as Sesto. Cornelia was very much a strong stage presence while some of Sesto’s singing was beautiful. I have a personal aversion to many counter-tenor voices – which is my problem. Cesare and Tolemeo were both very adequate – Tolomeo could have been hammed up more, possibly, and Cesare didn’t seem enough of a grizzled warrior. I think having a counter-tenor for Tolomeo makes sense, but I would still have preferred a mezzo (who in fact was originally planned for this run, apparently)
I think a few years ago ETO had performed a complete Giulio Cesare uncut over two nights. This one night nearly three hour version was easier to cope with and didn’t seem to have lost any of the major arias – a lot of recitative I think was cut, and some of the da capo arias didn’t – e.g. Cleopatra’s ‘Da tempeste il legno infrar”, one of my favourites. But all in all, this was an excellent and thoroughly enjoyable evening reminding me again of Handel’s great genius
John's musical journey 