Handel fantastically dealt with by the ENO | Theatre | Entertainment | EUROtoday

Thanks to wonderful singing from a really proficient small solid, Handel’s scintillating music shines by way of this revival of Handel’s comedian opera Partenope by the English National Opera. The plot has all the weather one expects in an Elizabethan farce: mistaken identification, gender confusion and several other suitors vying for the hand of a capricious feminine, all made much more complicated in Christopher Alden’s 2008 manufacturing by setting it in 1920’s Paris, with a robust trace of surrealism.

Partenope, Queen of Naples, faces the attentions of 4 Princes: Arsace, Arminio, Emilio and Eurimene, the final of whom just isn’t actually a prince in any respect however a princess in disguise. She is in actual fact Rosmira, Princess of Cyprus, former fiancée of Arsace, out for revenge. The love-hate relationship between these two varieties the principle position of the story.

The title position is beautifully performed by British soprano Nardus Williams. Her appearing effortlessly ranged by way of all of the feelings expressed by the unstable Partenope, from vivacious to vengeful, whereas her singing coped impressively with all of the quick coloratura musical runs, leaps and trills which Handel imposed on her. Mezzo-soprano Katie Bray was good with a false moustache as Eurimene, however even higher when she revealed herself because the jilted Rosmira.

Of the true male suitors, probably the most spectacular was the countertenor Hugh Cutting whose deliciously expressive voice and unusually large vocal vary had been very nicely suited to the position and the calls for of the composer. Jake Ingbar and Ru Charlesworth as the opposite princely suitors, Armindo and Emilio, slot in nicely with the ensemble really feel of the manufacturing and the overall air of comedy is accomplished by bass William Thomas as their good friend Ormonte. Ingbar additionally confirmed significantly good comedian talent find so many alternative methods to fall down or dangle from the staircase that was the principle function of the stage design.

The biggest failing of the opera itself is the flimsiness of the plot and the shortage of correct character improvement in the beginning which leaves the viewers somewhat bemused as to what’s going on. Alden’s manufacturing tries to make up for this by setting all of it in arty environment in twentieth century Paris, however for me that somewhat added to the confusion. Various references to early surrealists, Man Ray, Salvador Dali and André Breton had been utterly misplaced on me till I examine them within the programme afterwards.

The ENO Orchestra gave a wonderful account of Handel’s joyful music. In the primary act, they had been performed by Christian Curnyn, however he was then taken ailing and was changed by Assistant Conductor William Cole who took his place with nice assurance and competence.