Berenice review: A contemporary take on Handel's forgotten opera

1/9
Barry Millington28 March 2019

For 250 years, until it was revived by enterprising students at the University of Keele in 1985, Handel’s Berenice was forgotten. Even today it’s neglected, in spite of the fact that it’s full of eloquent arias and duets to die for. All credit to the London Handel Festival and Royal Opera House for mounting this co-production in the refurbished Linbury Theatre, on the very site where the opera was done in Handel’s day.

With a strong-willed female ruler who won’t take no for an answer, a dysfunctional government and a plot of such back-stabbing intrigue that few outside the charmed circle could be expected to follow it, the work is not lacking in contemporary resonances. These were wisely left hanging suggestively in the air, however, by the all-female production team led by Adele Thomas.

It was a good decision to have it sung in English (translation by Selma Dimitrijevic), though brave to dispense with surtitles. Berenice and her equally redoubtable sister Selene are played as rival divas. Indeed, all the characters sport exuberant baroque-style costumes. Three periwigged musicians providing the continuo remain onstage and are dragged unwillingly into the action — the harpsichordist has his music snatched from under his nose.

There is no weak link in the cast, though Jacquelyn Stucker’s Alessandro is outstandingly stylish and Patrick Terry (Arsace) deploys Chaplinesque acting skills as well as being a countertenor of fine quality. The dominatrix tendencies of Claire Booth’s Berenice are matched by her formidable vocal delivery, while Rachael Lloyd as Selene gives her sister a run for her money. James Laing, Alessandro Fisher and William Berger complete the excellent cast.

Laurence Cummings draws expressive playing from the London Handel Orchestra, but there could be more nuanced phrasing and variety of bowstroke. Both music and action sweep along in this meticulous, hugely entertaining production.

Until April 7 (roh.org.uk, 020 7304 4000). Festival to April 29; london-handel-festival.com, 01460 54660

The best opera to watch in 2019

1/5

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