The Metropolitan Opera Live in HD series is not entirely consistent in quality but it has always been very interesting to watch operas that are new to me and what is done with old favourites. The 7th season of this series was one of the more consistent ones, with only Rigoletto coming across as a disappointment and Maria Stuarda and Parsifal being the standouts. There were many reasons to watch this production of Handel's Giulio Cesare, and for me this production from the Met lived up to admittedly high expectations splendidly.
If you loved the Glyndebourne production directed also by David McVicar, you will love this one. There have been some touches with McVicar that have not always worked with me, but generally he is a very imaginative stage director who always makes an effort to make the characters distinct and the story compelling. I think he does a splendid job here, while the production is updated to the 1920s with the Romans for example as British imperialists the spirit of the opera is there. The serious aspects of the opera are appropriately affecting, the comedy is genuinely fun and witty, the romantic elements are sweet and amorous and the adventurous ones are quite daring. So basically the themes and elements of Giulio Cesare are done with the full impact they should have. Though while not your idea of traditional, the costumes and sets are quite simple but still have a charming look.
Musically, there are very few complaints there either. Giulio Cesare musically and dramatically is one of Handel's very best, in fact if I were to pick a favourite as of now of Handel's operas it would probably be Giulio Cesare. And judging by how the productions looks and how it's performed it was clear to me that those involved thought so as well. The orchestra play with style and brio with beautiful tone. I did get wary initially of whether they, being quite small in size, would come across as swamped sound-wise in such a big building(which I found true of the Met's Rodelinda with Renee Fleming), but that wasn't the case. Harry Bicket brings out all those great qualities- precise tempos, good musicianship and a sense that he had experience in early music- he had in his conducting of the Met's La Clemenza Di Tito here as well.
David Daniels' performance in the title role is remarkable. Watching the production as part of those live simulcasts they do at the cinema, his tendency to shake his body on his runs will either amuse people or come across as odd. For me, subtle it wasn't but neither was it a major annoyance either. Especially when his voice and technique are so crystalline and commanding, and when he conveys the vulnerability and humour of his role as well as he does. Natalie Dessay has seen better days vocally- it is much better than her 2012 Violetta though- with some of her breath control a little forced and some moments of shrillness. She does have some fine moments though, because her colouratura technique and perkier aria singing are sparkling and the music that requires a more plaintive mood is moving. She is great dramatically, she is funny and seductive as Cleopatra should be but brings a human side also.
Christophe Dumaux is a deliciously calculating Ptolomeo, on the same level for his performance for Glyndebourne and better than that for Paris. He does bring the lasciviousness and menace of the role out without making it too obvious, and his bright, agile tone is strong throughout while not sounding out-of-kilter with the type of character Ptolomeo is. I was taken by the warmth of Patricia Bardon's voice, and also thought her Cornelia was very dignified, an approach that is just right and makes it easy to identify with the character. Alice Coote really stands out as Sesto, she may lack Lorraine Hunt's(for the Peter Sellars production) word-painting intensity but the rich, fully-rounded mezzo tone is there, as is a highly involved and poignant stage presence.
Guido Loconsolo as Achillas makes one of the best Met debuts of any of those from the Met HD series, he is thrillingly menacing and hungry for power and has a hearty and resonant sound to his voice. Rachid Ben Abdeslam is very funny with a voice that positively gleams, while John Moore sings with robustness. In conclusion, a terrific production. 9/10 Bethany Cox
If you loved the Glyndebourne production directed also by David McVicar, you will love this one. There have been some touches with McVicar that have not always worked with me, but generally he is a very imaginative stage director who always makes an effort to make the characters distinct and the story compelling. I think he does a splendid job here, while the production is updated to the 1920s with the Romans for example as British imperialists the spirit of the opera is there. The serious aspects of the opera are appropriately affecting, the comedy is genuinely fun and witty, the romantic elements are sweet and amorous and the adventurous ones are quite daring. So basically the themes and elements of Giulio Cesare are done with the full impact they should have. Though while not your idea of traditional, the costumes and sets are quite simple but still have a charming look.
Musically, there are very few complaints there either. Giulio Cesare musically and dramatically is one of Handel's very best, in fact if I were to pick a favourite as of now of Handel's operas it would probably be Giulio Cesare. And judging by how the productions looks and how it's performed it was clear to me that those involved thought so as well. The orchestra play with style and brio with beautiful tone. I did get wary initially of whether they, being quite small in size, would come across as swamped sound-wise in such a big building(which I found true of the Met's Rodelinda with Renee Fleming), but that wasn't the case. Harry Bicket brings out all those great qualities- precise tempos, good musicianship and a sense that he had experience in early music- he had in his conducting of the Met's La Clemenza Di Tito here as well.
David Daniels' performance in the title role is remarkable. Watching the production as part of those live simulcasts they do at the cinema, his tendency to shake his body on his runs will either amuse people or come across as odd. For me, subtle it wasn't but neither was it a major annoyance either. Especially when his voice and technique are so crystalline and commanding, and when he conveys the vulnerability and humour of his role as well as he does. Natalie Dessay has seen better days vocally- it is much better than her 2012 Violetta though- with some of her breath control a little forced and some moments of shrillness. She does have some fine moments though, because her colouratura technique and perkier aria singing are sparkling and the music that requires a more plaintive mood is moving. She is great dramatically, she is funny and seductive as Cleopatra should be but brings a human side also.
Christophe Dumaux is a deliciously calculating Ptolomeo, on the same level for his performance for Glyndebourne and better than that for Paris. He does bring the lasciviousness and menace of the role out without making it too obvious, and his bright, agile tone is strong throughout while not sounding out-of-kilter with the type of character Ptolomeo is. I was taken by the warmth of Patricia Bardon's voice, and also thought her Cornelia was very dignified, an approach that is just right and makes it easy to identify with the character. Alice Coote really stands out as Sesto, she may lack Lorraine Hunt's(for the Peter Sellars production) word-painting intensity but the rich, fully-rounded mezzo tone is there, as is a highly involved and poignant stage presence.
Guido Loconsolo as Achillas makes one of the best Met debuts of any of those from the Met HD series, he is thrillingly menacing and hungry for power and has a hearty and resonant sound to his voice. Rachid Ben Abdeslam is very funny with a voice that positively gleams, while John Moore sings with robustness. In conclusion, a terrific production. 9/10 Bethany Cox
