Sydney Reviews

A standing ovation, accompanied by thunderous stamping feet, cries of "bravo", and increasing rounds of applause after each aria, signalled the triumphant success of Pinchgut Opera’s premiere of George Frideric Handel’s Julius Caesar.

Just over 300 years since its creation, the emotional import in the sonorous elegance of the human voice and orchestra of this opera continue to captivate and move audiences, even in our noisy, technology-driven 21st century. Pinchgut Opera rises to this challenge with mastery and passion! Playfulness lies at the heart of this production and lightness and flow underpin both the visual and musical approach.

Dynamic visual simplicity

Upon entering the performance space, faint sound of instruments warming up fills the air. It was a surprise to discover the orchestra barely visible behind translucent screens in the base of a pyramid. With the iconic form of the pyramid referencing Egyptian history and culture, the power of the pharaohs, and a connection to the divine and eternity, the audience is immediately transported to Egypt where the action takes place.

The pyramid structure overcomes the limitations of the City Recital Centre's layout. Being set on the diagonal, it breaks the symmetry of the concert stage, draws the eye across the space, and provides a potent canvas for set and costume designer Dale Ferguson, lighting designer Damien Cooper, and director Neil Armfield, along with assistant director Eugene Lynch, to explore dynamic movement and depth through this angled form.

As immersive and enchanting as the lush sound of the Orchestra of the Antipodes, conducted by Erin Helyard, and the splendour of the voices are, the audience is subtly reminded of their role as spectators through alienating touches, such as entrances through the house and visible stagecraft, which offer both entertainment and moments of contemplation. There is no proscenium arch in sight here and the singers are most engaging when they break the fourth wall.

Integration of orchestra

The set allows the sounds of the orchestra and voices to interweave more organically. In this production, the orchestra does not remain a hidden treasure that emanates magical sounds from within the pyramid. It is seamlessly integrated into the visual fable. The orchestral players – each an expert on their Baroque instrument – have parted from traditional stage blacks, and in their loose beige and white casual clothes are playing with imagination and energy, bringing the dance-like and improvisatory nature of Handel’s music to life.

The four horn players perform the opening overture fanfare from the balcony, facing the pyramid. The virtuoso horn player Carla Blackwood is also positioned there for the famous aria Va tacito e nascosto ("The clever hunter"), sung by Caesar (Tim Mead) in the first act. Cleopatra (Samantha Clarke) delivers her seduction aria V’adoro pupille ("Beautiful eyes, I adore you") from the same balcony, backed by the nine muses Annie Gard (violin), Sarah Papadopoulos (violin), Karina Schmitz (viola), Anthea Cottee (cello), Laura Vaughan (viola da gamba), Noelia Melián (oboe), Jackie Newcomb (bassoon), Hannah Lane (harp) and Simon Martyn-Ellis (gallichon).

Caesar expresses his enamoured affections with the help of a violin solo played by Matthew Greco in the aria Se in fiorito ameno prato ("In a lovely meadow of flowers"). Standing centre stage, violinist and singer take turns to outdo each other in imitating birdsong. Greco is given permission to embody a fiddler entertainer, complete with accompanying facial expressions.

Vocal splendour

Handel’s beautiful melodies and intricate instrumentation, harmonies and dynamic contrasts enable the human voices to give life to the movement of a wide range of emotions from passion and despair to joy and serenity. Modern acting jells with baroque melodies, improvisatory variations of repeated aria sections and newly invented candenzas.

All the voices are magnificent and the capabilities of the singers superb. Each is given the spotlight to shine, as this opera seria predominantly features solo vocals. It is only the opening and closing chorus as well as a limited amount of duets that offer a glimpse into the potential of the single voices’ powerful union.

Stephanie Dillon’s desperate Cornelia and Helen Sherman’s determined Sesto elicited gasps and sighs from the audience at the end of their duet Son nata a lagrimar (I was born to weep), just before the interval. Dillon’s rich and creamy tone, combined with Sherman’s bright mezzo voice, interwove in harmonies, melodious abandon and unreserved emotional expression.

Andrew O’Connor gave the antagonist Achilla vocal prowess and majestic presence. Philip Barton delivered a solid, loyal, and dutiful Curio. Michael Burden’s Nireno was a highly entertaining operatic court servant – vocally exciting, respectful, and humorous.

Embodied characterizations

It was the vocal splendour achieved through embodied emotions by Tim Mead (Caesar), Samantha Clarke (Cleopatra) and Hugh Cutting (Tolomeo) that sparked the most electrifying rapport with the audience when portraying their complex characters. What they possess is not only deep understanding of the character and the music and ability to the stay present in the moment and commit to the scene.

Mead, Clarke and Cutting represent a new generation of singers that deploy the freedom of their vocal virtuosity to create believable operatic characterizations in real time. They use their physicality and tone to become instruments of their imagination, empathy and invention. Most importantly, they are open and mindful of each moment and let their emotions evolve naturally and their responses be truthful to the circumstances as they unfold.

Tim Mead portrays the Roman general Caesar with regal poise and power in the famous aria Va tacito e nascosto (The clever hunter) from Act 1, and with vulnerability and moral strength in Aure, deh, per pietà (You breezes, ah, have pity) from Act 3. His coloratura is both very rapid and touching, and his stage presence strong and charismatic.

Hugh Cutting is most fascinating as Tolomeo – an immature and psychopathic character, who is unrelenting in his pursuit of power. Cutting’s voice and body merge in a performance that delivers nuanced details of Tolomeo’s conniving and cruel nature. He creates in the moment, making the organic rendition of his character exciting to watch. In Act 3, Scene 2, with countertenor brilliance and acting dexterity Cutting powerfully conveys Tolomeo's rage as he orders the imprisonment and potential execution of Cleopatra.

Samantha Clarke delivers an unprecedented Cleopatra. Her angelic tone, expressive freedom, and captivating acting make famous arias such as V’adoro pupille ("I adore you, eyes") and Piangerò la sorte mia ("I shall weep for my fate") flow and sound anew. With agility and unique melodic invention Clarke embodies the charismatic and intelligent ruler of the Ptolemaic Kingdom of Egypt with ease. Her Cleopatra is human and vulnerable, serious and funny, grieving and ecstatic.

The final scene duet between Caesar and Cleopatra, Più amabile beltà ("There is no sweeter beauty"), is electrifying. It marks a moment when all the art forms of opera come together in perfect harmony.

Like the monumental Egyptian pyramids, Handel’s masterpiece Julius Caesar stands as a testament to both longevity and enduring relevance. Pinchgut’s innovative production of Julius Caesar is yet another resounding success and another step towards uncovering hidden treasures in Baroque opera and intricate operatic storytelling.