Last Updated on May 15, 2024
The Royal Opera House Jette Parker Singers Perform Handel’s Arminio
Today’s Royal Opera sits on the site of a theatre that was built by John Rich and opened in 1732. It was there that Handel staged a series of operas, with Arminio premiering on January 12 1737, the first of three works he premiered at Covent Garden that year. None were popular at the time, despite the fact that for Arminio he had brought in renowned Italian castrati Domenico Annibali, to sing the title role and Gioacchino Conti (“Gizziello”) to sing the role of Sigismondo. An Opera Seria in three acts, last night’s performance in the Linbury Theatre saw the 22/23 Jette Parker artists take leading roles with Gabrielė Kupšytė as Arminio, Sarah Dufresne as his wife Tusnelda, Michael Gibson as the Roman General Varo and Josef Jeongmeen Ahn as Tusnelda’s father, Segeste.
The opera is based loosely on the events of the Roman invasion of Germany in the year 9AD. It opens with Arminio, a Germanian prince, planning to flee from the invading Romans. The opening duet, “Il fuggir, cara mia vita” matched the softer mezzo Kupšytė with Dufresne’s bell -like soprano in immaculate vocal athletics. As they pack to escape though, they are interrupted and Arminio is taken away by Roman soldiers.
Jeongmeen Ahn as Segeste, the Germanian political leader working with the Romans, was vocally capable, with that fabulously rich baritone we have admired in the past. However, both he and Michael Gibson as Varo, a Roman General, seemed a little ill at ease with the Baroque form though always musically accurate.
This is Opera Seria and as such, has an elevated theme where good should triumph over evil. Segeste discovers that Varo is in love with Tusnelda and, when Arminio realises that too, believing he will be executed soon, asks Varo to marry her when he is dead.
Tusnelda has other ideas though and explains to Varo that the way to win her respect is by saving Arminio. Varo does indeed put the execution on hold, but only to demand that Arminio should die as a warrior, not a criminal. Meanwhile, fortunes are changing and the Romans are losing to the Germanians.
When Ramise, Arminio’s sister, lets Tusnelda know that Arminio is still alive, they plan to free him. Sigsmondo (Segeste’s son) is persuaded by his lover Ramise to return Arminio’s weapon and let him escape to fight the Romans. Sigsamondo (Isabelle Peters – a current Harewood artist at ENO) and Ramise (Kamilla Dunstan) were both charming and charismatic, though sometimes a little overwhelmed by the orchestra.
The Germanians are ultimately victorious and Arminio makes an offer of peace to Segeste. But, on the sidelines, Tusnelda and Ramise are making up poison in secret which they offer to the collaborator as the curtain falls.
We have, of course, seen all the Jette Parker artists throughout the year in various roles; Dufresne in Tannhäuser where her acapella solo as the young shepherd was remarkable, and Kupšytė in Rusalka as one of a trio of Wood Nymphs. And we loved Jeongmeen Ahn in Tosca as Angelotti while Michael Gibson, as Pong in Turandot impressed us with his dance and acrobatic moves as well as his voice while in The Rape of Lucretia my colleague wrote that as the Male Chorus,
‘Gibson’s voice is light and agile with terrific diction and a beautiful tone. He brings a youthful sense of despair to the part which helps to make the piece feel contemporary.’
Of the four Jette Parker singers last night, Sarah Dufresne stood out for me, with a truly stunning pure soprano, seemingly effortless throughout her range in a role that could have been written for her. Gabrielė Kupšytė ‘s Arminio was convincing and accurate and her stage presence was excellent. But I did wonder if the role would have worked better for a countertenor than for her lyrical and soft mezzo.
Staging for last night’s production was relatively simple. Two rooms, marked out by long curtains, are used throughout the performance. One a bedroom, the other Segeste’s office. The space through the centre of the rooms and to the front of the curtains was ‘everywhere else’. While I loved the flexibility of the staging, at times the sound of the opening and closing curtains was an unwanted distraction. The set and costume design (Noemi Daboczi) was contemporary and almost timeless. The cast could easily step out onto the street in costume and not be noticed. Directed by Mathilda du Tillieul McNicol and conducted by André Callegaro, both 2022/23 Jette Parker artists, with the Orchestra of the Early Opera Company in the pit, it’s a production that could have delivered more with a little variation in pace and dynamic contrast.
As a revival of one of Handel’s lesser-known operas, this was a professional and capable contemporised production while if you dislike the stylised use of baroque ornamentation you may particularly appreciate this interpretation.
As a showcase for the Jette Parker artists, it worked best for Sarah Dufresne, though every singer performed admirably. Having seen each of the Jette Parker soloists deliver stunning performances in other roles, I’m optimistic that they will become the stars of future operas, both in London and worldwide.
Thursday 20th April – Saturday 6th May 2023
Tickets: £45 – £80
Arminio
Royal Opera House
Bow Street
London
WC2E 9DD
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