{"id":3635,"date":"2017-06-17T10:28:28","date_gmt":"2017-06-17T09:28:28","guid":{"rendered":"http:\/\/www.larkreviews.co.uk\/?p=3635"},"modified":"2017-06-19T09:16:00","modified_gmt":"2017-06-19T08:16:00","slug":"garsington-opera-semele","status":"publish","type":"post","link":"https:\/\/www.larkreviews.wickedlemon.co.uk\/?p=3635","title":{"rendered":"Garsington Opera: Semele"},"content":{"rendered":"<p><strong><span style=\"color: #008000;\">Garsington Opera at Wormsley, 15 June 2017<\/span><\/strong><\/p>\n<p><a href=\"https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/Semele-3.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-3641\" src=\"https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/Semele-3.jpg\" alt=\"\" width=\"1170\" height=\"570\" srcset=\"https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/Semele-3.jpg 1170w, https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/Semele-3-300x146.jpg 300w, https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/Semele-3-768x374.jpg 768w, https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/Semele-3-1024x499.jpg 1024w, https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/Semele-3-500x244.jpg 500w\" sizes=\"(max-width: 1170px) 100vw, 1170px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Charles Jennens dismissed <em>Semele <\/em>as a <em>Bawdatorio<\/em> and, despite the ravishing beauty of so much of the score, it has never quite entered the repertoire in the same way as <em>Caesar<\/em> or <em>Ariondante. <\/em>A surprise really when it so easily lends itself to a wide range of visual interpretations while the characters have an emotional depth which is equal to any of Handel\u2019s other operas \u2013 but then of course the argument rises as to whether this is opera or oratorio. Opera may be allowed to be morally dubious, but oratorio is expected to be far more straight-laced. The key seems to lie with the organ. Oratorios are led from the organ; operas from the harpsichord. <em>Semele <\/em>has both and they were used with admirable tact under Jonathan Cohen\u2019s light touch from the pit. This was Handel at his most entertaining. The relationships may be serious but Annilese Miskimmon\u2019s production treads a fine line between fantasy and reality. The opening wedding scene could be any country house celebration, until the gods literally intervene and Semele is whisked off to a heavenly palace.<\/p>\n<p><a href=\"https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/semele-1.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-3638\" src=\"https:\/\/www.larkreviews.wickedlemon.co.uk\/wp-content\/uploads\/2017\/06\/semele-1.jpg\" alt=\"\" width=\"183\" height=\"275\" \/><\/a><\/p>\n<p>There are many telling details. Juno\u2019s trail of small girls is a constant delight and never overused. The tiny golden Bacchus at the any is charming, all the more so as the children were clearly related to the adult cast. The chorus are a great strength throughout and their movement was tellingly choreographed by Sarah Fahie.<\/p>\n<p>There were no weak points in the casting and Heidi Stober radiated as Semele, her rendition of <em>Endless pleasure<\/em> and <em>Myself I shall adore<\/em> becoming genuine showstoppers. Robert Murray gave us an old rue as Jupiter, pulling out all the stops for <em>Where\u2019er you walk<\/em> and handling the many pyrotechnics with aplomb. Jurgita Adamonyte\u2019s Ino was able to turn the humour on herself without any sense of humiliation, and David Soar\u2019s Somnus had the gravely bass the part requires while hinting at the sort of lustful reserves Jennens found so objectionable.<\/p>\n<p>Of all Handel\u2019s stage works \u2013 and this surely demands to be staged \u2013 this can seem the most contemporary and certainly Garsington have highlighted its very many strengths.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Garsington Opera at Wormsley, 15 June 2017 &nbsp; Charles Jennens dismissed Semele as a Bawdatorio and, despite the ravishing beauty of so much of the score, it has never quite entered the repertoire in the same way as Caesar or &hellip; <a href=\"https:\/\/www.larkreviews.wickedlemon.co.uk\/?p=3635\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"_links":{"self":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/3635"}],"collection":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3635"}],"version-history":[{"count":3,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/3635\/revisions"}],"predecessor-version":[{"id":3643,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/3635\/revisions\/3643"}],"wp:attachment":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3635"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3635"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3635"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}