FIRST NIGHT

Opera review: Saul at Glyndebourne

This is an eye-popping Old Testament spectacular, and one with its human drama unshrivelled
Markus Brück, left, creates a forceful picture of unhinged kingship and Stuart Jackson is offbeat and entertaining
Markus Brück, left, creates a forceful picture of unhinged kingship and Stuart Jackson is offbeat and entertaining

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★★★★☆
We know that Handel’s oratorios on a good day can be even more dramatic than his operas. Yet the proof of the pudding rarely tastes as sweet as in Barrie Kosky’s 2015 production of Saul, back at Glyndebourne for its first revival. The opening scene contains enough excitement to keep any opera company in clover, particularly if you’re in the chorus, colourfully caparisoned in 18th-century clobber, striking stylised gestures aloft banquet tables heaving with food, foliage and an ornamental swan.

Having the chorus front and centre is a big benefit in opera productions of oratorios, and Glyndebourne’s group, well drilled by the chorus master Nicholas Jenkins, give a thrilling display of vocal stamina and theatrical smarts. They’re also one of the chief beneficiaries