Il Ritorno d’Ulisse in Patria review at the Grange, Hampshire – ‘a mixed affair’
A new event at a familiar address, the Grange Festival launches with Monteverdi’s The Return of Ulysses to his Homeland – a canny choice given artistic director Michael Chance’s long experience of Baroque music as one of the world’s leading countertenors.
Chance is also credited as musical director of the opening production, though he doesn’t conduct: with the accompanying pit orchestra split on either side of the protruding apron stage central to Sumant
Jayakrishnan’s idiosyncratic designs – members of the period-specialist ensembles The Academy of Ancient Music and The Division Lobby – there are a few co-ordination problems on the first night.
No quarrel with the quality of the playing, though, nor with the stylistically apt vocal performances Chance has developed with his cast.
At best they are very fine. Both physically and vocally, Paul Nilon turns in an extraordinary Ulisse. Anna Bonitatibus’ Penelope takes a while to settle but goes on to convey movingly the barely controlled desperation of Ulisse’s beleaguered wife.
There’s strong work from her three deplorable suitors – most notably a vocally resplendent Antinoo from Paul Whelan, who like one or two other cast members collects three roles over the course of the evening.
Ronald Samm offers a larger-than-life comic turn as the gluttonous Iro while Thomas Elwin makes his mark with his direct Telemaco and Nigel Robson holds the attention as Eumete, the shepherd loyal to Ulisse.
Tim Supple’s staging is a mixed affair, its physicality often engaging but its period-mixing and sometimes wacky costumes occasionally upstaging the characters who wear them; its tone is not so much ambiguous as uncertain. But Chance and the company demonstrate that the scale of the piece perfectly matches this 550-seat venue, which may well prove to be a portent of things to come.
Want to continue reading? Support The Stage with a subscription
We believe in fair pay for everyone who works in the arts, and that includes all our journalists and the whole team who create The Stage each week.
As a family-run, independently-owned publication, we rely on our readers' subscriptions to pay journalists to produce the informed and in-depth articles you want to read.
The Stage will always strive to report on great work across the country, champion new talent and publish impartial investigative journalism. Our independence allows us to deliver unbiased reporting that supports the performing arts industry, but we can only do this with your help.