Reviews

Handel with care

23/03/2011

PUBLICATION: Capital Times
REVIEWED BY: Garth Wilshire
WHERE: St James Theatre, Wellington, 15 March 2011

What a treat this production of Handel’s Xerxes was. A co-production between Victorian Opera, and The 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 The 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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Did you know?

Early opera resembled the atmosphere of a race course - chatting, food, laughter and loud comments were the norm.

During all our opera performances an English translation of the libretto is projected on screens above the stage, so you can easily follow the story.

If you are 25 years old or under you can purchase $25 tickets at the venue box office before any performance.

The world's longest opera is Wagner's The Ring Cycle, lasting over 14 hours plus intervals. That's 18 hours at the theatre.

The world's longest applause lasted for 1 hour and 20 minutes as a standing ovation. The opera: Otello starring Placido Domingo.

On average, an opera will last between 2 and 3 hours, with one interval in a two act show, and two in a three act show. Operettas and musicals tend to be shorter.

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