David Daniels as Lichas (in background), Richard Croft as Hyllus, Lucy Crowe as Iole and Kaleb Alexander as Soldier in Hercules. Photo: Michael Cooper
Reviewed by James
Karas
The Canadian
Opera Company is concluding its 2013-2014season with three operas that are
somewhat off the beaten track and that it has not produced before: Donizetti’s Roberto
Devereux, Massenet’s Don Quichotte and Handel’s Hercules.
The spring season opened with the latter opera directed by Peter Sellars.
Handel called Hercules
a “musical drama” and most writers seem to agree that it is neither an opera
nor a secular oratorio. As a musical
drama it is largely static, contains numerous arias and some choral pieces but
relatively little interaction between the characters. It looks back to
Sophocles’s Women of Trachis and Ovid’s Metamorphoses for its
plot about the downfall of Hercules.
Peter Sellars
has brought the story to the twentieth century and turned it into a tale about
soldiers, war, healing and restoration. Hercules returns to his wife Dejanira with
Princess Iole, a war trophy from a city that he just destroyed. Dejanira
becomes jealous of the pretty young woman and sets out to regain her husband’s love.
Unknowingly, she uses a magic potion that is in fact deadly and she kills her
husband.
Dejanira is
wracked with guilt but she is reassured when she learns from a Priest that
Hercules’s soul has ascended to Mount Olympus to dwell with the gods. Her son
Hyllus marries Iole and thus the drama has a happy ending. The role of the
Priest is eliminated by Sellars.
Sellars’ idea
about an American soldier returning from war and finding a process of healing
and reconciliation is imaginative but hardly supported by the libretto. Sellars
dresses Hercules in fatigues and at the end has him wheeled in a coffin draped
in an American flag. He calls the wedding of Hyllus and Iole in a programme
note “the birth of a wiser America and a different Middle East.” None of that
is supported by the libretto of course, and it is an imaginative leap that
unfortunately does not work.
American
bass-baritone Eric Owens sings the role of Hercules. He does not appear until
fifty minutes after the curtain goes up and he gets relatively few arias. Owens
has a deep, resonant and powerful voice, a credible stage presence and does
superb work in a significant number of roles. Listening to him in Hercules, I felt that he was in the
wrong opera. His voice is great in Wagnerian or Verdian operas but it seemed to
lack the suppleness to do justice to Handel.
Countertenor
David Daniels was superb as Lichas, the faithful servant. His marvellous
delivery was vocally and emotionally splendid.
Lucy Crowe was
perhaps the best performer of the night as the hapless Iole. The high kudos
goes because of her tonal beauty and affecting performance. Mezzo-Soprano Alice
Coote as Dejanira proved that she has a mellow and beautiful voice with some
delicious low notes. Unfortunately she ran into some shrillness in her top
register.
Tenor Richard
Croft as Hyllus on crutches held his own in a very fine performance.
The COC Chorus
walked on and off the stage because there was something for them to sing. The
addition of some hand gestures was an unnecessary extra to their fine performance.
The set
consisted of a rectangle with some rocks in it. There were pieces of columns on
three sides of the rectangle. Different colours were used to light the rocks
and judicious lighting was used for the back of the stage. The columns give the
impression of a Greek mythical location and American soldiers seem out of
place.
It is no
accident that the COC has never performed Hercules
before. Individual arias and choral pieces sounded beautiful and the drama
sounds fine on CD. But as a stage work it has limitations. Sellars tried to
overcome and even surpass those limitations by forcing an imaginative vision on
the drama. Let’s just say that it was not entirely successful.
_____
Hercules by George Frideric Handel (music), Reverend
Thomas Broughton (libretto) opened on
April 5 and will be performed a total of seven times until April 30, 2014 at the
Four Seasons Centre for the Performing Arts, 145 Queen St. West, Toronto, Ontario. www.coc.ca.
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