Giulio Cesare at Grauman’s

The 2021 production, by Keith Warner, of Handel’s Giulio Cesare in Egitto at the Theater an der Wien uses Grauman’s Egyptian Theatre as a framing device.  Sometimes the action is clearly the actors, producers, cigarette girls etc involved in the screening of a silent German movie version of “Caesar and Cleopatra”.  Other times they are performing the action of the film/opera.  Sometimes the cinema screen shows clips from the movie.   Other times it shows pictures of the characters on stage.  For example, at the beginning of Act 2 Tolomeo, whose other persona is some kind of sleazy mafioso movie exec, is shooting up.  There’s a B&W picture of him on the screen that slowly changes to bright colours and then becomes more and more a depiction of a pretty heavy trip.

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La Dori

Pietro Antonio Cesti’s 1657 dramma musicale La Dori is a hoot.  It seems to prefigure every plot device that will ever be used in opera.  A baby sold by bandits who turns out to be a princess.  Pirates. A ghost. Mistaken identities.  Swapped potions. Men pretending to be women.  Women pretending to be men.  Love polygons of fiendish complexity.  I won’t even attempt to explain the plot because it’s very complex and silly and hardly matters.  It took me a half page diagram just to map the relationships between the characters.

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