Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Il Trovatore at Dutch National Opera

Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.

The Barber of Seville, ENO London

This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.

Monteverdi: Il ritorno d’Ulisse in patria, Bostridge, Barbican London

The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.

English Touring Opera - Debussy, Massenet and Offenbach

English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).

Verismo Double Header in Los Angeles

LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.

Viva Verdi at Opera Las Vegas

On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.

Barbera Sings a Fascinating Recital in San Diego

On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.

Sweeney Todd at the San Francisco Opera

Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.

Wigmore Hall Complete Schubert Song Series begins with Boesch and Johnson

The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.

Luisa Miller in San Francisco

Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.

Salieri: La grotta di Trofonio (Trofonio’s Cave)

Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.

Chicago Lyric’s Stars Shine at Millennium Park

The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.

Gluck: Orphée et Eurydice

Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.

Vaughan Williams and Holst Double Bill

One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.

Iestyn Davies at Wigmore Hall

Is there anything that countertenor Iestyn Davies cannot do with his voice?

Prom 75: The Dream of Gerontius

BBC Proms Youth Choir shines in a performance notable for its magical transparency

Prom 67: Bernstein — Stage and Screen

The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.

Prom 65: Alice Coote sings Handel

Disappointing staging mars Alice Coote’s vibrant if wayward musical performance

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.



Sophie Bevan [Photo © Sussie Ahlburg]
29 Nov 2013

Early Opera Company: Acis and Galatea

Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.

Early Opera Company: Acis and Galatea

A review by Claire Seymour

Above: Sophie Bevan [Photo © Sussie Ahlburg]


This vibrant, stylish performance by the Early Opera Company, under the direction of Christian Curnyn, left us in no doubt as to why it was one of the few of Handel’s large-scale works to remain popular after the composer’s death. As the drama swiftly unfolded, the stream of glorious melodies rang forth one after the other, spanning the full dramatic gamut from elation to despair, from fury to resignation.

The first performance of the work in 1718 was a private one, at James Brydges’ elegant house, Cannons, where Handel had been fortunate to gain employment following the closure of the King’s Theatre in 1717. Described as a ‘masque’, Acis and Galatea is typical of the short works on pastoral or mythological subjects which represented a home-grown ‘rejoinder’ in the face of the increasing public taste for Italian opera during the early eighteenth century.

The libretto — which was probably co-authored by John Gay, Alexander Pope and John Hughes — is drawn from Dryden’s translation of the thirteenth book of Ovid’s Metamorphoses, which appeared in London in 1717. It depicts a romance which unites earthly and immortal realms. The sea nymph Galatea is pining for her beloved, Acis; unbeknown to her, the young shepherd is simultaneously searching for her, anxious to be reunited with his cherished Galatea. The rational, worldly-wise Damon warns Acis that he is neglecting his duties, but the impetuous shepherd heeds not his friend, and eventually the lovers are reunited. However, the arrival of the love-struck monster Polyphemus soon spoils the celebrations, for the giant demands that Galatea transfer her affections to himself; when she refuses and Acis rises in fury against the giant, Polyphemus crushes Acis to death under a boulder. Distraught, Galatea is reminded of her divine powers: she transforms the dead Acis into a stream, thus granting him immortality.

Christian Curnyn launched into the overture with verve, the dynamic, animated playing of the instrumentalists setting the high standard of playing that was sustained throughout the evening and establishing a gripping dramatic momentum. Ensemble was exemplary, and the stylish execution, full of intensity but always elegant, was impressive, as the players painted an Arcadian scene.

The influence of Purcell, especially Dido and Aeneas, is evident in the way in which the chorus is intimately involved in the drama. On the rather crowded Wigmore Hall platform, the five singers were seated behind the instrumentalists, forming a well-blended chorus from which they emerged to take their solo roles, thereby both participating in and reflecting on the action.

The opening chorus instituted the mood of Arcadian serenity, the five voices intermingling with ease and simplicity, initially creating a sense of breadth, before the introduction of some relaxed counterpoint and points of imitation. In contrast, ‘Wretched lovers!’, which commences Act 2 was full of foreboding, and in the unaccompanied lament, ‘Mourn all ye muses’, sung over the body of the slain Acis, the consort of voices was touching but not sentimental, particularly at the line, ‘The gentle Acis is no more’.

The soloists were uniformly excellent.

As Galatea, Sophie Bevan produced a luscious Italianate cantilena, her gorgeous tone resonating sensuously throughout the hall. In ‘Hush ye pretty warbling choir’, her nimble vocal line melded sweetly with the sopranino recorder and upper strings. Handel’s technical challenges presented no problem for Bevan: trills were neat, ornaments not excessive. The recitative which precedes her aria of mourning, ‘Heart, the seat of soft desire’, was poignant, and her subsequent earnest command, ‘Rock, thy hollow womb disclose! The bubbling fountain!’ consoling; while the line ‘Lo! it flows’, suggested a touchingly hesitant joy. In this final aria, the sparkling treble recorders of Ian Wilson and Hannah McLaughin, accompanied by mellifluous, undulating strings, wonderfully evoked the magic of the fountain into which Acis has metamorphosed.

Robert Murray demonstrated a lovely sense of line as Acis. He made much of what is essential quite a weak role dramatically, combining passion and lyricism, both assertive and elegant. ‘Where shall I seek the maiden fair?’ was full of the naïve haste of youth; in the second Act, Murray skilfully suggested the shepherd’s growing emotional maturity, shaping the dynamic rises in ‘Love sounds th'alarm’ with intelligence and craftsmanship. His penetrating melody was gratifyingly complemented by Katharina Spreckelsen superb oboe playing.

As Damon, Samuel Boden’s graceful, light tenor provided a pleasing contrast to Murray’s more ardent tone. Boden captured well Damon’s composure and wisdom; ‘Consider, fond Shepard’, in which he attempts to quell Acis’s jealous anger had elegance and presence. Boden sang with sweet, refined tone, especially in an eloquent ‘Consider, fond shepherd’. ‘Would you gain the tender creature’ — an appeal to Polyphemus to essay a gentler line of seduction — would surely have charmed anyone but this unfeeling brute.

To lose one villain was unfortunate, but to lose two could have been potentially disastrous, had Matthew Rose not been available to step into the breach when first Derek Welton, and then his replacement Ashley Riches, were unable to perform the role of Polyphemus. From his first utterance, ‘I rage, I melt, I burn’, Rose filled the auditorium with a rich and profoundly satisfying sound.

Both fearsome and grotesque, in this opening accompanied recitative and throughout the opera he conveyed the essential complexity of the role: are we supposed to laugh at the lovelorn ogre whose gauche compliments and endearments fail to impress, or to protest at his vicious, petulant cruelty which shatters the lovers’ harmony? Probably both; and, in the following aria, ‘O ruddier than the cherry’, Rose conveyed the immensity of the Cyclopean monster’s burning love for Galatea and his fiery hatred for Acis.

Ian Wilson’s delightfully sprightly recorder obbligato reminded us of Ovid’s humorous depiction of Polyphemus as a ferocious goliath who plays an outsized set of shepherd’s pipes! Polyphemus is the dramatic catalyst, disrupting the Elysian bliss, and Rose’s ferocious interjections in the peaceful duet, ‘The flocks shall leave the mountains’, brutally shattered the lovers’ calm avowals of constancy and steadfastness. Curnyn and his performers were justifiably radiant as they acknowledged the appreciative and heartfelt applause. This was a fantastic, engaging performance with not a single weak link. A fabulous evening.

Claire Seymour

Cast and production information:

Robert Murray, tenor (as Acis); Sophie Bevan, soprano (as Galatea); Samuel Boden, tenor (as Damon); Matthew Rose, baritone (as Polyphemus); David de Winter, tenor (as Coridon); Christian Curnyn, director, harpsichord. Wigmore Hall, London, 27th November 2013.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):