Purcell’s King Arthur contains some wonderful music but it also poses real staging issues. How much of the play that the music supports does one include? How to contextualise the unfamiliar version of the King Arthur story? How to deal with the rather crude nationalism? Sven-Eric Bechtolf and Julian Crouch come up with a very interesting approach for their 2017 production at the Staatsoper Berlin.
What are we to make of Handel’s Ariodante? The plot centres on the notion that female chastity is the be all and end all of life. It’s not a notion that would find much support in 21st century Toronto, even among a Sunday afternoon audience at the Four Seasons Centre. Ginevra, princess of Scotland and heir to the king, is betrothed to Ariodante. Ariodante has a rival, Polinesso who is loved in a besotted kind of way by Ginevra’s maid, Dalinda. Polinesso claims to have slept with Ginevra and offers to prove it to Ariodante. He drugs Ginevra and gets Dalinda to put on Ginevra’s clothes and invite him into her room. Ariodante disappears, apparently having committed suicide in a fit of despair. On the flimsiest of evidence Ginevra, who has no idea what happened, is condemned to death. Her accusers, including her father, don’t even bother to ask who the man in her room was. Polinesso tries to remove the now inconvenient Dalinda from the scene but fails and when Ariodante shows up again she spills the beans. Polinesso is killed by Ariodante’s brother in a duel but not before confessing. All is forgiven and everyone carries on as if nothing in the least traumatising just happened. So, what to do with this?