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Joshua, opera
'Good stage presence': Daniel Norman in the title role of Joshua at Grand theatre, Leeds. Photograph: Alastair Muir
'Good stage presence': Daniel Norman in the title role of Joshua at Grand theatre, Leeds. Photograph: Alastair Muir

Joshua; La Bohème – review

This article is more than 10 years old
Grand theatre, Leeds; Coliseum, London

Not short on action, the Old Testament book of Joshua charts the entry of the Israelites into the Promised Land, the razing of Jericho, several massacres and the suspension of time while sun and moon stand motionless so the enemy can be avenged in daylight. (Apparently Nasa, failing to confirm an appropriately timed late bronze age eclipse, has no category to account for divine intervention.)

Handel crams all these mythic thrills plus added love interest into an oratorio crowned with stupendous choruses, magnificently delivered by Opera North last week in their simple, low-budget new staging. The composer's audience at Covent Garden, London, in 1748 would have seen Joshua as a metaphor – incredible but true – for Protestant Britain: a chosen people fighting off marauding Europeans and possessed of their own hallowed constitution not so different from the tablets God delivered to Moses and stored in the Ark of the Covenant.

In Leeds, this Ark was a sort of converted wardrobe on wheels with a chair slung over the top. This may or may not be standard Ark style. But Charles Edwards, the director, as well as set and lighting designer, had given us an additional element to ponder. He has updated it to the period of the foundation of modern Israel two centuries after Handel wrote the music. Thus the opening scene showed a familiar array of weary figures carrying battered suitcases and a few possessions as, after 40 years in the wilderness, they at last reach Canaan and chorus their thanks to God.

We in the audience had other reasons to be thankful. The presence in the pit of that almighty among Handelians as well as choral directors, Stephen Layton, ensured rousing, well-drilled accounts of Ye Sons of Israel, Glory to God and the best-known See, the Conqu'ring Hero Comes!, which Handel used again in Judas Maccabaeus. Daniel Norman, in the title role, had good stage presence but perhaps too light a voice to be a convincing leader of the Israelites.

As Caleb, the triumphalist military leader who knows his powers are waning, Henry Waddington gave a convincing, subtle portrayal. The talented Fflur Wyn, as his daughter Achsah whose lovely arias include the ingenious As Cheers the Sun, was fresh-voiced and touching. So too was Jake Arditti, a pure-toned, rising-star countertenor, as her lover, Othniel. Members of the children's chorus of Opera North and Glyn Webster as a choirboy angel added youthful fervour. Every word of the English libretto was audible.

The stage imagery was based on the work of Rudi Weissenstein (1910-1992), a Czech photographer who emigrated to Palestine in 1936. Black-and-white photos were projected, at enormous, grainy size, on portable screens. The shell of the Grand theatre stage itself was visible: rear doors, fly loft, rigging. Appreciating current tight budgets – Opera North faces a £1.6m cut – this solution worked well.

With skilful lighting, Edwards also managed to hint at the visual moods of a Rembrandt biblical painting or a David Roberts watercolour. Gabrielle Dalton's costume designs captured that distinctive period-piece mix of floral blouses, unbecoming ankle socks and, even for the women, gun-toting khaki. The array of religious paraphernalia – prayer shawl, yarmulke – made it over-literal but that direct comparison was intentional and underlined the strange discomfort of this oratorio in which faith and vengeance battle it out.

The orchestra, with reduced strings plus chamber organ, harpsichord and continuo cello (Sally Pendlebury), were effervescent in fast music and eloquent in the slow – especially the Act II sun-and-moon miracle, where Handel's music is at its most ethereal. Opera North, which announced its new season on Tuesday, now looks ahead to its festival of Britten, with Albert Herring later this month and a new Death in Venice in the autumn. Forthcoming new productions include Verdi's Macbeth and Puccini's La Fanciulla del West. This company knows where to pitch itself, aiming high yet cleverly managing to stay wise.

English National Opera had a buoyant week too. The return of Jonathan Miller's 1930s La Bohème (revived by Natascha Metherell) got everything right. Oleg Caetani, conducting, chose pliant tempi, never letting the pace drag. The orchestra obliged with luscious playing, and the fresh young cast – led by an ardent Gwyn Hughes Jones as Rodolfo and Kate Valentine as a real, flesh and blood Mimi – were uniformly strong. No one overacted: Angel Blue's Musetta was languid rather than tediously coquettish, Richard Burkhard's Marcello likable and sane. Andrew Craig Brown (Colline), Duncan Rock (Schaunard) and Simon Butteriss (Benoit/Alcindoro) were spot-on. It runs until 29 June.

ENO also announced an enticing new season: the world premiere of Julian Anderson and Frank McGuinness's Thebans tops the bill. Headline directors with new stagings include Simon McBurney (The Magic Flute), Calixto Bieito (Fidelio), Christopher Alden (Die Fledermaus, Rigoletto), Richard Jones (Rodelinda), Katie Mitchell (Così Fan Tutte), Joe Hill-Gibbins (Powder Her Face) and Terry Gilliam (Benvenuto Cellini). Among welcome revivals are Peter Grimes, Satyagraha and Madam Butterfly. There's enough spice, novelty and imagination in this line-up to match any opera house in the world.

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