Handel’s Giulio Cesare is pretty well served in terms of video recordings. The very fine Glyndebourne and Copenhagen versions get some serious competition from the 2012 production that inaugurated Cecilia Bartoli’s reign as director of the Salzburg Whitsun Festival. The production is by Moshe Leiser and Patrice Caurier. It’s set in somewhere like Iraq in an immediately post-war period. It’s quite dark, probably darker than Negrin’s in Copenhagen and world’s away from McVicar’s almost RomCom version. There’s a lot of violence and some pretty sleazy sex. A lot of this centres around Tolomeo who is portrayed as beyond revolting. There’s a scene where he rips guts out of a statue of Caesar and starts to gnaw on them and there is a fair bit in that vein. Caesar and Cleopatra are portrayed ambiguously too. Sure they are the “heroes” of the piece but Cleopatra’s delight in flogging off her country’s oil wealth to the Romans shows a degree of cynicism. This is not a production for the Konzept averse but I think all the choices made have a point and the overall effect is coherent. It’s not without humour either. Cleopatra sings V’adore pupille in a 70s blonde wig while riding a cruise missile with Caesar watching through 3D glasses.
I’ve owned a VHS tape of Harry Kupfer’s 1991 Royal Opera House production of Gluck’s Orfeo ed Euridice pretty much since it came out. I really can’t bear to watch VHS anymore so I haven’t watched it in ages and was intrigued when I managed to get my paws on a DVD copy and was able to see what I thought after all this time. Continue reading →
Mitridate, rè di Ponto is a three act opera seria by a fourteen year old kid called Mozart with a libretto based on Racine. Like most operas with a libretto based on Racine, and there are many, it isn’t exactly a barrel load of laughs. While it’s fair to say that the music may well be the best ever composed by a fourteen year old and it is recognisably Mozart it’s still not really quite enough to carry three hours of recitative and da capo arias about the troubled love life and familial relations of a first century BC King of Pontus and his fractious sons. In short, it gets a bit tedious. For a modern audience it’s not improved by the fact that all the male voices are high. Originally the score called for three castrati and two tenors. In the 1993 Royal Opera House production two of the three castrato roles were taken by mezzos and the third, inevitably the baddy, by a countertenor. For the record, here’s the full cast:
The director – Graham Vick, designer – Paul Brown and choreographer – Ron Howell do a pretty good job of injecting some life into the production with fairly extreme use of colour in the costume design, sets and makeup. The choreography and blocking is also quite striking at times but it still ends up being rather a wash of coloratura. The singers too do a worthy job but after a while it all starts to sound the same. Good work too from conductor, Paul Daniel, and the ROH orchestra but ultimately a bit blah.
Video director Derek Bailey does a pretty good job for the period. It’s hard to object to closing in on the singer during a da capo aria and he does pull out when there is stage wide action. He’s not helped by pretty average picture quality that lacks the definition needed to make long shots fully effective. Technically it’s a typical Kultur release of the period. The less than brilliant picture is coupled with so-so Dolby 2.0 sound, hard coded English sub-titles and minimum documentation. It’s also a bit quirky in that the overture comes on, with lead in credits, as soon as the disc is inserted. There’s no “set-up” menu.