Review: Handel's Giulio Cesare at Glyndebourne provides exotic opera treat in most beautifully English setting
There is nothing quite like taking your seat to witness a gloriously passionate opera in a picture perfect setting on a gorgeous summer day, writes Mavis Kirkham.
Our trip to Glyndebourne was a really brilliant day out and that’s before the curtain even went up on a truly memorable performance.
The weather was idyllic and there is so much more to this unique venue that opera. Before the performance we explored the beautiful herbaceous borders and walked around the lake enjoying the waterlilies, the best dresses of the ladies and the occasional glimpse of the colourful silk lining of a gentleman’s formal jacket. Standards are high and it proved a great opportunity to observe both horticulture and picnicking as art-forms.
The opera itself was wonderful in so many respects. The story is a fantasy based on Julius Caesar’s Egyptian campaign with lots of intrigue, passion and opportunities for making fun of the exotic east and colonists.
All the soloists were outstanding as singers and as actors. Aryeh Nussbaum Cohen’s powerful countertenor (two words I have never used together before) ably filled the role of Julius Caesar. He made the vocal acrobatics of the hero’s arias seem effortless. Louise Alder, with her agile soprano was an impressive Cleopatra. Her every move was outrageously flirtatious until tragedy struck and she was equally impressive as the tragic heroine. Their two voices were magical together in the final duet.
Beth Taylor, mezzo soprano, was powerful in her grief as Cornelia, the widow of Pompey. Svetlina Stoyanova, mezzo soprano, was impressive as her son Sesto - young and shaky but determined to avenge his father. Cameron Shahbazi’s countertenor and excellent acting was just right for the dissolute, menacing but often funny Tolomeo. Ray Chenez, countertenor and skilled comic actor, deftly used every opportunity for humour as the mincing Nireno.
With period instruments, the Orchestra of the Age of Enlightenment, conducted by Laurence Cummings, conveyed the depth of sorrow in the sad scenes and the lively bouncing rhythms of much of the music. Handel’s beautiful interweaving of voices and instruments was safe in their accomplished hands.
The choreography and dancing were excellent and frequently had us laughing. The set used opulent curtains and an original seascape but felt spacious and uncluttered. The costumes, dances and seafaring vessels came from an outrageous range of ages but they all melded together into one glorious show.
The modern opera house is a beautiful building. From the good views from every seat and the beautiful woodwork to the rack on the back of each toilet door to hold your programme, everything works just right.
Our day at Glyndebourne was a feast for all the senses: from the rose garden in full bloom to the imaginative and very tasty meal in the long interval. Strawberry soup and arches of white roses were particularly lovely. Above all Handel’s beautiful music echoes through my memory of a favourite opera so very well played and sung.