The opera house itself is a stone’s throw from the Mediterranean and, with the pale blue
shallows merging into the proverbial “wine dark sea” of legend beyond, it didn’t take much of a
leap of the imagination to envisage these waters carrying the ships of Theseus, Aegeus and
Medea to their immortality. Helping this conceit along was the fact that this particular
production designed by Gilbert Blin and conducted from the violin by Gilbert Bezzina pulled
absolutely no punches in terms of the oft-maligned term “authentic”. If the great man himself
had time-travelled from 1714 to 2007 and walked into the theatre as the curtain rose, he surely
would have nodded approvingly at everything he saw beyond the footlights and, mostly, heard
from the pit.
Make no mistake; this was very serious opera seria. From the painted clouds to the bewigged
and silken-gowned protagonists, from the hand-shaken thunder machine to the monsters rolled
on from the sides, this was as near to an authentic experience of baroque opera as might be
achieved today. Its quaint charm – not to mention the gorgeous stuffs of the costumes – beguiled
the eye at every turn. So much so in fact, that it was all too easy to almost ignore occasional
vocal lapses that elsewhere in a starker, more real-politik, setting might have been more
prominent.
These lapses were highlighted by the fact that in terms of even Handel’s soundscapes, Teseo is
unusual. There is no bass or tenor role, and the characters are sung by sopranos (both male and
female), mezzo-sopranos and, today, counter-tenors. When the mixed chorus including lower
voices occasionally makes a vocal entrance it thus has a surprisingly sonorous effect. The
mainly French speaking cast of principles are not widely known beyond western Europe: soprano
Brigitte Hool as the heroine Agilea, who loves Teseo, the returning warrior to the court of King
Egeo, was by far the most accomplished and appealing of voices on display with a nice line in
delicate ornamentation, good diction and a charming stage personality. In contrast, the
wicked-witch character of Medea, that epitome of woman-wronged and vengeful, sung by mezzo
soprano Aurelia Legay, was anything but delicate – except in volume which was sadly lacking in
the early Acts. By the fourth and fifth she seemed to have found her full voice, but a little late.
Egeo, not a large role, was sung by the very experienced French counter-tenor Pascal Bertin who
showed a real baroque feel for this music, if not exactly setting the stage alight with his vocalism.
The “sub-plot” pair of lovers, so often used by Handel to fill out the stories and the score, were
sung by soprano Valerie Gabail (Clitia) and young French counter-tenor Damien Guillon
(Arcane). The latter was certainly the most exciting discovery of the performance with a firm
vocal production, consistent through the range, and with true alto warmth with no hootiness or
recourse to root voice. A young man to watch in this field. Of the principles, that leaves the title
role, and here there was disappointment. Having heard male soprano Jacek Laszczowski sing
this role in England last year, it was perturbing to hear his obvious vocal problems throughout
this production. They seemed to centre on his inability to produce his male soprano effectively in
the lower reaches of the recitatives and ariosi. The sounds produced then were not pleasant – in
contrast to some of his arias where when he sang at the top of the staff and beyond and his voice
produced both beautiful pianissimos and clarion fortes. Let us hope that this is a temporary
situation.
Apart from the singers and costumes, much of the authentic feel of this production came from the
musical support of the “Ensemble baroque de Nice” – one of the major baroque groups in
southern France – ably if somewhat pedantically led from the violin by their Director, Gilbert
Bezzina. One could not argue with his reading of the score, but his tempi sometimes dragged
down an already-top-heavy (if only by the huge wigs) staging even more than was perhaps
inevitable.
Sue Loder © 2007
image=http://www.operatoday.com/Bertin-Guillon-Hool.png
image_description=Pascal Bertin, Damien Guillon and Brigitte Hool (Copyright Nice Opera)
product=yes
product_title=G. F. Handel: Teseo
product_by=OpÈra de Nice, 18 March 2007
Photo courtesy of OpÈra de Nice