Handel’s Saul gets another “fully staged” treatment in this recording of a Claus Guth production at the Theater an der Wien in 2021. Inevitably it invites comparison with Barrie Kosky’s Glyndebourne version.. They are quite different though each is very enjoyable n its own way. Those not familiar with the piece might find the introduction to the earlier production helpful as I’m not going to repeat the outline of plot etc here.
I’m not really sure that it’s a good idea to take Rameau too seriously, especially a work like Les Indes galantes but that’s what Sidi Larbi Cherkaoui does in his production for the 2016 Münchner Opernfestspiel. As written, the piece has five separate parts; an allegorical prelude and four scènes, each telling a love story in an “exotic” setting; Turkey, Peru, Persia, among les sauvages of North America. It’s a spectacle but it uses the exotic settings to poke fun at certain aspects of Western culture in Rameau’s usual irreverent way. There’s no linking narrative and the characters in each scène (the goddesses Amour and Bellona aside) only appear once.
Katie Mitchell’s production of Handel ‘s Alcina recorded at Aix-en-Provence in 2015 is extremely interesting. It’s almost complete with maybe twenty minutes of the ballet music cut. None of the ballet is actually staged as such. It’s also a Mitchell special multi-space set (like Written on Skin) with the lower level having Alcina/Morgana’s boudoir, drawing room or whatever at any given moment flanked by two smaller spaces which are the “personal” spaces of the two sisters. When the ladies withdraw from the public/enchanted space they are replaced by actresses who look decades older. Only late in the piece as Alcina’s magic fades do the two worlds get confused. The upper level of the set is taken up with the giant machine that turns Alcina’s victims into taxidermied animals. The overall aesthetic is upscale modern with lots of actors as very competent servants.
There can’t be many French Revolutionary propaganda comedies but Cherubini’s Koukourgi is one of them. Written in the crisis year of 1792 and intended for the Théatre Feydeau it never actually made it onto the stage and remained unperformed until it was staged by the Stadttheater Klagenfurt in 2010. By then the dialogues, the overture and the finale had been lost but music director Peter Marschik found a couple of bits from other Cherubini operas to fill the musical gaps and director Josef E. Köpplinger supplied rather arch German dialogue to link the musical numbers (sung in French).