One seldom attaches the attribute “slapstick” to the composer George Frederick Handel. Nevertheless, when Christopher Alden’s staged that composer’s HWV 27 opera Partenope for San Francisco Opera (SFO), that was clearly the disposition he had in mind. Handel’s libretto’s appealed to his contemporaries for evoking a “classical” past, often based on mythical foundations. The characters in Partenope come from that past; but the (unidentified) author of the libretto seemed less interested in Greek tragedy and more at home with a beautiful woman trying to negotiate her way around four suitors. All four of them fumble their way through efforts to woo the title character.
Julie Fuchs as Partenope, Hadleigh Adams as Oromonte, Daniela Mack as Rosmira, Nicholas Tamagna as Armindo, and Carlo Vistoli as Arsace in the first act of Partenope (photograph by Cory Weaver, courtesy of SFO)
One of them, Arsace (countertenor Carlo Vistoli) has actually abandoned the woman he had promised to marry, Rosmira (mezzo Daniela Mack); but they are reconciled by the end of the third act. Partenope herself (soprano Julie Fuchs) ultimately settles on Armindo (countertenor Nicholas Tamagna); and the opera concludes with all characters gathered in cordial friendship. The journey to that conclusion, however, is fraught with no end of confusion (essential to almost any opera) expressed, for the most part, through raucous slapstick.
The decor for the setting may owe much to the painter Francis Picabia and the film-maker René Clair, but the characters could easily have escaped from the Charlie Chaplin film. Ironically, none of this is inconsistent with Handel’s music, which, for the most part, is decidedly upbeat from beginning to end. It was given a first-rate account by conductor Christopher Moulds. He led from a harpsichord, also providing continuo with a second harpsichordist (Peter Walsh), along with cellist Evan Kahn and Richard Savino on theorbo. The full ensemble (including the continuo) consisted of only 38 musicians, providing just the right transparency and balance with the vocal work (almost all solo) taking place on the stage.
When SFO first presented this production in October of 2014, watching it felt like a roller-coaster ride with one unexpected take after another. This time I knew what to expect; so the “shock” element of surprise in the visual experience was somewhat blunted. Nevertheless, the spirit was as fresh as ever, just as it is in a new staging of a comedy by William Shakespeare where we already know all the jokes. Beyond the spot-on deliveries by all of the vocalists, every gesture on stage registered the flow of comic dispositions, reinforced in the orchestra pit by every note that Handel had penned receiving its due.
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