6 hours ago4 min read

Julius Caesar - City Recital Hall (NSW)

Score by George Frideric Handel. Libretto by Nicola Francesco Haym

A five star performance from world-class musicians, this is Handel Opera at its' finest.

Reviewed by Claira Prider

Pinchgut Opera

City Recital Hall, Sydney

November 21 - 27, 2024

Tickets: https://www.pinchgutopera.com.au/julius-caesar

Written by George Frideric Handel in 1724, Julius Caesar (Giulio Cesare) is loosely based on the historical events during the Roman Civil War. Set in 48-47BC, Nicola Francesco Haym’s libretto follows a heroic narrative that sees a despairing Cleopatra saved from the clutches of her evil brother with all the things you want in an opera; lust, lies, blood and despair. At the time of writing, Handel was living in London and employed as chief composer at the Royal Academy of Music where he was paid by dukes and aristocrats to ensure they had a constant supply of entertainment. Unlike in following centuries where the hero was usually written for the tenor voice, the mid-late seventeenth century saw the peak in castrato singer popularity, so many roles were written for the highest male voice. As castrating men for the sake of vocal range became frowned upon, Handel got around the lack of castrato singers available by casting women in pants roles and even writing pants roles.

The theatrical space of City Recital Hall imposes extra challenges on the creative team to facilitate a dramatic and engaging production without devices like a stage curtain or backdrops. There is a sheer, mesh, Egyptian pyramid structure that that sits diagonally across half of the width of the stage under which the Orchestra of the Antipodes perform from. Making great use of the space and acoustics, the production utilises various auditorium entrances, some of the setting takes place in front of the stage, as well as singers and orchestral players performing from the gallery box next to the stage up on the balcony.

Led by musical director Erin Heylard who conducts from the harpsicord, the ensemble delivers the most musically sensitive interpretation with virtuosic precision and immaculate connection between singer and orchestra. The sheer structure doesn’t inhibit the connection at all but allows the orchestra to intertwine seamlessly with the singers, while lighting is used to bring the instrumentalists in and out of focus. Dale Ferguson’s design employs visibly simple devices to identify a new setting such as turning a chair into a throne by throwing a silky golden cloth over it. This approach ensures swift scene changes and draws our focus deeply into the text and the performance.

Photography by Brett Boardman

Counter-tenor Tim Mead plays the titular role of Julius Caesar with nuanced, gentle authority. His focussed, bright, brassy tone perfectly carries his relaxed yet flawlessly articulated coloratura. While vocally superb, I also loved Mead’s interactions when not singing, as he creates space for his scene partners in a way that heightens their chemistry. A highlight of Mead’s performance is his duet Se in fiorito with violin. Joined by Matthew Greco who pops out from under the pyramid, Greco’s physicality and ornamentation is so engaging, and the violin-voice interaction is delightfully playful and so connected, particularly in the cadenza. Hugh Cutting has his Pinchgut debut as the malicious Tolomeo. He conveys the forceful, menacing character while maintaining a shimmering timbre.

2024 Limelight artist of the year nominee Samantha Clarke sets herself up as the next Cleopatra of our generation with the most human and moving, musically sensitive portrayal. With everything in opera usually being so heightened, what makes Clarke such a standout is how understated her performances are. Her Cleopatra (arguably Handel’s most well-written female) shows a commitment that prioritises embodying the characters’ humanity over making the most exquisite sound. The result is a most connected, moving and powerfully relatable performance which also happens to be vocally divine. Her Se pieta di me non senti is the standout highlight of the evening as she expresses her anguish of losing her lover. In an aria that’s so often sung with more outwardly intense, threatening despair, she delivers it with the most fragile, engrossing, inward anguish. In all arias, her ornamentation is restrained and so magnetically captivating, it’s verging on onomatopoeic how naturally instinctive and accurate to the text it feels.

The casting of Helen Sherman as Sesto beautifully highlights her indomitable characterisations and rounded mezzo tone. Dressed in khaki cargos, t-shirt and sneakers, Sherman’s physical and vocal performance brilliantly fills out this gutsy role. Stephanie Dillon’s portrayal of the grieving widow Cornelia is grounded and well-paced. So connected to the orchestra, her sombre legato lines feel almost instrumental. Sherman and Dillon are sublime together, their mother-son chemistry is palpably believable and they vocally complement each other completely.

The immaculate musicianship of the Pinchgut performers does so much justice to the divine score. Showing great commitment to the chamber aspects of the work, the orchestra provide trusting and flexible support to the singers while maintaining flow and trajectory. The staging direction ensures the brilliance of the baroque ensemble is highlighted, making their role feel as vital as the presence of the singers as if they’re another character as much as an accompaniment. Neil Armfield’s direction is easy to follow and cleverly uses the acoustic space to beautifully platform instrumental solos in the score, with a particularly notable performance Carla Blackwood on horn. With the translated Italian text printed in the program, the use of contemporary and colloquial surtitles adds a refreshing and highly entertaining, contemporary touch.

Pinchgut's Julius Caesar and Belvoir' St Theatre's latest work August Osage County are two of the best performances I've seen all year, yet it cant help but notice, both production companies mention that they scheduled these works knowing they wouldn't provide great finance for the company. It's a privilege to witness such stagecraft and artistry, I so wish the industry received the kind of funding and support needed to keep creatives of this caliber afloat and flourishing in the country. Pinchgut Opera’s Julius Caesar is a five star production, filled with world-class performances - a triumphant success for Australia’s baroque music and opera scene.