By John Daly-Peoples
Read this review on NBR.co.nz
The whole opera has a stylish sophistication, taking its lead
from the formal elegance of Handel's music
As with many of his operas Handel manages to cram a lot of
subplots into his comic tale about love and jealousy.
Even though it is a comic work there are some serious elements
to it not the least that this is set in Persia which then
encompassed the whole of the Middle East, from India to Greece and
Xerxes does keep his eye on invading Western Europe.
Xerxes the Persian king is in love with Romilda, a general's
daughter. Fortunately for the story so is his brother Arsamene and
Romilda also loves Arsamene.
However Romilda's sister Atalanta also loves him. The other
problem is that Xerxes is actually engaged to Amastre who is bent
on revenge.
The notion is that men and women have a major weakness and they
can be captured and diverted by love and jealousy.
The counter tenor Tobias Cole as Xerxes gave a stunning
performance in the demanding role with some of his big arias
receiving well deserved applause.
"The other counter tenor William Purefoy singing the role of
Arsamene was the standout performer. His less dramatic but
beautifully nuanced voice was enhanced by his impeccable acting,
turning even the slightest movement into a meaningful gesture
Tiffany Speight as Romilda was captivating with a sparkling
voice which conveyed both love sick yearning and rage.
Amy Wilkinson as Atalanta gave a gutsy performance as the woman
who finds herself always left on the shelf and the trouser role of
Amastre who stalks the stage wassung by Kristen Darragh with a
brooding intensity.
Martin Snell's General Ariodate presented a strong
character with a couple of well judged arias while Stephen
Bennett gave some fine comic relief as Elviro.
The set designed by John Verryt and lighting by Matt Scott
brilliantly fuse together to create changing moods
Handel's glorious music is superbly played by the Lautten
Compagny under the direction of Wolfgang Katschner. They allow the
music to become virtually a character within the opera adding to
the overall emotional texture.
It's an opera in which Handel seems to build on the early operas
of Monteverdi as well as looking forward to Mozart while referring
John Gay's comic opera "The Beggars Opera" of 10 year earlier."