Teseo

Published Monday 15 October 2007 at 15:45 by Edward Bhesania

Based on the Greek legend of Theseus, filtered through a French librettist, Handel’s Teseo fell into obscurity after its first run in 1713, and has straggled, even during the recent vogue for Handel revivals. English Touring Opera has bravely adopted this Italian tragic drama for its autumn tour and, overall, it’s a striking success. The surtitles are based on the libretto’s presentation in the word book for the first performances, which highlights the overriding mood of arias, rather than offering literal translations - a novel effect that is less confusing than a confounding diagram in the programme book would lead you to believe.

Adam Wiltshire’s stodgy castle wall sets tend to cramp the stage, but the playing and singing, directed by Michael Rosewell, is of a very high standard. Swedish mezzo Lina Markeby’s Arcanes is focused and dramatically effective, and the central trio is first rate - Gail Pearson is vocally agile as the king’s ward Agilea, Jeni Bern colourfully inhabits the role of the jilted enchantress Medea. Even in this distinguished company, American mezzo Valerie Komar stands out as Teseo, with a suitably heroic physical presence and vocal apparatus to match. Even her most virtuosic arias are projected with seemingly ear-deceiving facility. Her Act 5 duet with Pearson’s Agilea is one of several memorable highlights.

At the opera’s end the flames of the burning palace (torched by the thwarted Medea), are quelled by two small children - in place of the goddess Minerva’s Priest. These are the children of Medea, it appears, intervening on their mother’s behalf. They sing like angels, but the effect is hardly convincing. Perhaps, though, this is Medea’s final comeuppance - that the kids have to clear up mummy’s little mess. How embarrassing for the evil enchantress must that be?