Handel with care
Garth Wilshere
Handel’s Xerxes, NBR New Zealand Opera, St James Theatre Wellington, March 15. Reviewed by Garth Wilshere.
WHAT a treat this production of Handel’s Xerxes was. A co-production between Victorian Opera, and NBR New Zealand Opera, this was a colourful and joyous production.
John Verryt’s simple, classically inspired set, with a nod to Moorish architectural detail, proved an ideal backdrop to Trelise Cooper’s, opulent costumes which glowed in the multiple lighting washes from Matt Scott. Australian director Roger Hodgman allowed lots of flowing movement from his cast to give the production momentum.
Each principal seemed ideally cast; the pure, focused counter-tenor of the royal-purple costumed Australian Tobias Cole had power, agility and clarity, his brother Arsamene in plainer more military attire, was sung with warm richness by English counter-tenor William Purefoy, their combative interplay excellently done. Their love interest Romilda, wonderfully caught by a feisty Tiffany Speight, with the scheming Atalanta a perfect foil in Amy Wilkinson’s interpretation.
Xerxes’ spurned bride-to-be Amastre a trouser role, disguised as a soldier, was portrayed with intensity by Kristin Darragh. The military leader Ariodate, a very Napoleonic portrayal by Martin Snell demonstrated his natural comic ability as well as pompous gravitas, perfect for the part. A smaller comic-cameo from Stephen Bennett ‘s Elviro rounded out the cast.
All were ideal with the small chorus contribution crisp and vibrant as we would expect, the whole underpinned by conductor Wolfgang Katschner. To have an original instrument Baroque orchestra, The Lautten Compagney from Berlin in the pit was real coup for NBR NZ Opera.
The vitality and attack from the orchestra, whose glorious tonal variety and terrific unanimity of style capped of a brilliant night at the opera.
WHAT a treat this production of Handel’s Xerxes was. A co-production between Victorian Opera, and NBR New Zealand Opera, this was a colourful and joyous production.
John Verryt’s simple, classically inspired set, with a nod to Moorish architectural detail, proved an ideal backdrop to Trelise Cooper’s, opulent costumes which glowed in the multiple lighting washes from Matt Scott. Australian director Roger Hodgman allowed lots of flowing movement from his cast to give the production momentum.
Each principal seemed ideally cast; the pure, focused counter-tenor of the royal-purple costumed Australian Tobias Cole had power, agility and clarity, his brother Arsamene in plainer more military attire, was sung with warm richness by English counter-tenor William Purefoy, their combative interplay excellently done. Their love interest Romilda, wonderfully caught by a feisty Tiffany Speight, with the scheming Atalanta a perfect foil in Amy Wilkinson’s interpretation.
Xerxes’ spurned bride-to-be Amastre a trouser role, disguised as a soldier, was portrayed with intensity by Kristin Darragh. The military leader Ariodate, a very Napoleonic portrayal by Martin Snell demonstrated his natural comic ability as well as pompous gravitas, perfect for the part. A smaller comic-cameo from Stephen Bennett ‘s Elviro rounded out the cast.
All were ideal with the small chorus contribution crisp and vibrant as we would expect, the whole underpinned by conductor Wolfgang Katschner. To have an original instrument Baroque orchestra, The Lautten Compagney from Berlin in the pit was real coup for NBR NZ Opera.
The vitality and attack from the orchestra, whose glorious tonal variety and terrific unanimity of style capped of a brilliant night at the opera.
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