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Handel, Semele: Joint Production by Operamus and the Birmingham Conservatoire, Soloists,  Chorus and Baroque Orchestra / Daniele Rosina (conductor) Birmingham Conservatoire 7.9.2008 (GR)


The culmination of a four day workshop instigated by Artistic Director Richard Laing involving Birmingham’s Youth Opera group, Operamus and Birmingham Conservatoire managed to achieve in four days what might take some organisations four months – a staged performance of Handel’s Semele. It involved rising stars from the Conservatoire and a chorus drawn from the local community, operating to a formula proven by Birmingham Opera. All those involved are to be congratulated for a highly enjoyable afternoon on Sunday 7^th Sept, well received by an overflowing audience in the Conservatoire’s Recital Hall.

Originally presented in 1744 ‘after the manner of an oratorio’, any preconceived ideas of how the classical Greek legend of Semele might be portrayed were instantly dispelled before the orchestra had begun the overture – by the appearance of a character on stage selling The Big Issue. That he didn’t give the impression of your typical unemployed vendor of the magazine was of no consequence, it cleverly allowed Director Annette Thompson to show how she intended to approach her production. It was her take on the action and an attention to detail that ensured the success of the piece.

As the guests gathered during the overture for the arranged marriage between Semele and Athamus, it was obvious that all was not well with the wedding party. However, not all the antics fitted the libretto or made everything crystal clear. The choir launched into their first chorus Lucky Omens with great gusto (more tenors and basses please); as both congregation and priests they adapted their stance relative to the betrothed couple to suit their message. Robert-John Edwards forcefully sang the roles of both priest and the bride’s father Cadmus, doing his best to distinguish between the two. In front of the altar is hardly the ideal spot for the groom to plead with his bride to invent no new delay. But no matter, Andrea Tjäder as Semele effectively conveyed her tortured soul; Anna Jeffers as sister Ino was clearly distressed by the impending nuptials and Adrian Boorman as Athamus appeared slightly baffled by the whole situation. Together the narrative took shape and led to their enjoyable quartet Why doest thou thus untimely grieve. Any lack of altar pyrotechnics was more than adequately compensated for by the choir’s powerful Avert these omens, ably assisted here by the orchestra under Daniele Rosina to produce the definitive Handelian ensemble sound. When the Gods decree ’tis impious to proceed, the wedding ceremony is abandoned. The news that Semele has been spirited away by Jupiter gives rise to celebration, joyfully captured by the choir in Hail, Cadmus, hail. The well-known aria Endless Pleasure follows, beautifully sung by Linnea Markgren, although some of the gavotte sprightliness normally expected in support was lacking.

Act II saw the introduction of the star soloist, Susanna Purkis as Juno, adding an extra clarity of diction and stage presence to the proceedings. She laid down the law in No more! I’ll hear no more; Harriet Hunter provided a suitable foil as her confidante Iris. Their speedy flight through the Scythian hills was neatly staged by imaginary car and SatNav, complementing the mobile phones and laptops used elsewhere. Andrea Tjäder seemed more at ease with Semele’s gentle Oh sleep, why doest thou leave me. But Jake Fifer as Jupiter did not come across as either Godlike or Hairy-biker and their romantic duet looked as if it could have done with a bit more than the allotted four days. The choir closed in smoothly to conceal the more intimate moments. Where’er you walk, the difficult tenor solo unfortunately failed to convince, despite the attentions and amusing encouragement of Helena Raeburn as Cupid and the sighs of her helpers Linnea Markgren, Charlotte Davis and Claire Lees. When Ino is supernaturally reunited with Semele,  her demeanour much improves now that her sister has moved in with Jupiter. No longer a threat to her own pursuit of Athamus, Ino demonstrated she was on the same wavelength as her sister in the delightful duet Prepare, then, ye immortal choir. Another great Handelian chorus closed Act II.

Act III initially focuses on the bed that was the love nest of Semele and Jupiter, now the quarters of Somnus the God of Sleep. No one sleeps when Juno’s around, not even Somnus who receives her rude awakening. He does what most people do first thing on rising – relieves himself. Robert-John Edwards acquitted himself well as Somnus in More sweet is that name, more suited as the slumbering giant in this his third character role. As the plot thickens, Juno contrives with Somnus to get one over on her husband Jupiter by deceiving Semele, doing it all with mirrors. Semele is fooled, giving way to her tuneful coloratura da capo aria Myself, I shall adore. Semele desires immortality so Juno confides the secrets of Salome to her. But Semele presses Jupiter too far who uses his natural powers of thunder, lightning and fire to take her life. Apollo decrees everything will come good, so Ino is united with Athamus for the lieto fine. The choir, perhaps Handel’s greatest protagonist, has the last word to toast Bacchus and their own performance.

Geoff Read

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