Giulio Cesare is among Handel’s top 10 operas. Cleopatra was composed for soprano Francesca Cuzzoni, Cesare for superstar castrato Senesino, each with eight arias. Loosely based on history, Handel focussed on human fragility – the emotions of love, power, suffering and death.
This production, set 300 years after its première, commenced in Monaco in January, travelling to Vienna in July. I have never seen or heard anything close to the quality of singers or the brilliance of Livermore’s GOAT production, inspired by Christie’s ‘Death on the Nile’.
The staging is busy matching the busy overture. Passengers board the luxury cruise ship ‘Tolomeo’ finding their cabins. Pompei is imprisoned in a cabin. During ‘Tolomeo’s’ journey, attractive Egyptian scenery of temples, pyramids and the Nile are projected as a stage-wide video background. The Nile turns agitated or blood red reflecting the on-stage action. Tolomeo’s military attack becomes an action film as fighter pilots attack, bombs hitting with flames blazing. Livermore gives the singers precedence over the spectacular set, lighting and projections by focussing on the fabulous da capo arias.
Tall dark and handsome Italian counter-tenor Carlo Vistoli as Cesare, arrives in Egypt. ‘Presti omai l’egizia terra’ is his press conference. When Ptolomeo gifts Caesar Pompei’s head, Cesare’s furious repost – ‘Empio, diró, tu sei’ displays Vistoli’s fast stunning coloratura and impressive lower register. Turbulent waves reflect his fury. ‘Va tacito e nascosto’ as the hunter silently approaches his prey, is fantastic. ‘Aura, deh per pietà spirate’ in Act 3 shows lovely legato phrases and stunning breath control. His bright voice contrasts well with Bartoli’s creamy sound.
Cleopatra and Cesare’s relationship develops with humour. Cleopatra’s provocative seduction attempt in Act 2 – ‘v’adoro pupille’ is sung in the ship’s nightclub as Cleopatra takes the microphone. Cesare, falls for her, taking the microphone caressingly from her hand, sings ‘se in fiorite’ as a night club singer. The da capo section is prefaced in English with ‘and now just for you’. It becomes an amusing duet with a solo violinist – one of many highlights.
Italian mezzo superstar Cecilia Bartoli neither sounds, looks or acts 58. She is an entirely convincing Cleopatra. Despite having recently recovered from Covid, one cannot imagine it better sung. Bartoli’s mezzo voice and mature insights, add depth to her characterisation. She dominates whenever she is onstage, with her singing, acting and facial communication. ‘Se pietà di me non senti’ she proves again that she is the best coloratura and Handelian singing today. She brings individuality to the da capos, with variations not heard from other singers. In ‘V’adoro pupille’ Bartoli, resplendent in gold, pares her voice down to nothing with ravishingly accurate pianissimi. Bartoli has excellent chemistry with Vistoli, making their love affair credible. Time stands still with Bartoli’s artistry in ‘Piangeró la sorte mia’, revealing Cleopatra in such deep despair, that she attempts to kill herself at the end, only to be saved by her handmaidens.
South Korean counter-tenor Kangmin Justin Kim as Sextus is extraordinary. As a student, he developed his alter-ego Kimchilia Bartoli, perfectly mimicking Cecilia Bartoli’s voice and gestures. (Cecilia calls him ‘mia sorella’ – sister). He is the only counter-tenor I have ever heard who sounds like a mezzo. (He sang Cherubino at ROH in 2018). The audition piece – ‘Svegliatevi nel core’, is stunning, ghostly Pompei rising for the middle section – ombra del genitore’.
Sextus’ duet with his mother, Cornelia – son nato a lagrimar’, blends beautifully with Italian contralto Sara Mingardo as Cornelia. The sustained pianissimi at the end by both singers is ravishing. Mingardo is a rare true contralto with warm dark timbre and resonant low range. All Cornelia’s arias achingly express her suffering.
Croatian counter-tenor Max Emanuel Cenčić sings fez-wearing Tolomeo. His first aria ‘L’empio, sleale, indegno’, using Cleopatra’s bedsheets as an imperial toga was excellent but no match for his fellow counter-tenors. Hungarian bass-baritone Peter Kálmán is luxury casting as Tolomeo’s servant Achille.
Conductor Gianluca Capuano’s orchestra and singers bubbled along with the production.
Whodunnit?
- Traditionally Sesto kills Tolomeo in Act 3 with his sword. Here, Tolomeo shoots Sesto, wounding him. An abused black slave takes Sesto’s pistol and shoots Tolomeo.
- At the end, after standing ovations, multiple curtain calls and a repeat, a black and white silent film – ‘L’Assassino’ – Assassin – is projected at the back of the stage focussing on the murder of Pompey, (traditionally Tolomeo). Cleopatra is the revealed assassin, ruthless and determined to become Queen!
An inspirational end to a phenomenal performance. Catch it anywhere you can!
Vienner Staatsoper, Vienna, Austria
Music by Georg Friedrich Haendel (1685-1759)
Libretto by Nicola Francesco Haym after text of Giacomo Francesco Bussani
Conductor Gianluca Capuano
Director Davide Livermore
Photo Credit Marco Borelli
Scenographer Gió Forma
Video design D-WOK
Cast includes Cecilia Bartoli, Carlo Vistoli, Max Emanuel Cencic, Sara Mingardo, Kangmin Justin Kim, Peter Kalman, Federica Spatola
Running time 4 hours with one interval after 2.20 mins.
Seen on 6th July 2024.