Last night in Herbst Theatre, Peter Whelan began his first season as Music Director of the Philharmonia Baroque Orchestra & Chorale (PBO) with an earlier-than-usual start. This was the first of six concerts, which will continue through a conclusion in April of next year. To “fit in” with past PBO repertoires, Whelan chose to begin his tenure with an opera composed by George Frideric Handel; and his selection was one that was probably unfamiliar to most of last night’s audience.
An autograph page from the score of Handel’s HWV 25 (public domain, from Wikimedia Commons)
Tolomeo, re d'Egitto (Ptolemy, King of Egypt), HWV 25, was described in the advance material I received as a “historically informed performance with theatrical elements to heighten the drama.” The cast consisted of five vocalists and no chorus. The title character was sung by countertenor Aryeh Nussbaum Cohen. He is the eldest son of Cleopatra, exiled to Cyprus where he has disguised himself as a shepherd. Bass-baritone Dashon Burton sang the role of Araspe, the King of Cyprus; and the role of his sister Elisa was taken by soprano Nicole Heaston. The other characters are Seleuce, Tolomeo’s wife, sung by soprano Lauren Snouffer, and Tolomeo’s brother Alessandro, countertenor Kangmin Justin Kim.
The program book required two full pages to account for the narrative that twists and turns these five characters. Nevertheless, the music mattered more than the details; and all six of the vocalists had solo opportunities to display their respective skills. Staging was provided by James Darrah Black, who had the wisdom let the music and the solo vocal work prevail over the narrative details. The music was receptive to anyone familiar with the Handel repertoire, and Whelan’s leadership kept the plot moving to avoid getting bogged down in any lurking confusions.
It is interesting to note that Whelan conducted from the left rear corner of the stage. This allowed the full ensemble to group in a way that afforded generous space for the vocalists. This provided Black with more space than has been afforded in past PBO opera performances, and he definitely knew how to make good use of it!
Those craving more Handel will have to wait until the five-concert subscription series begins in the first half of November, but the occasion is definitely worth anticipating!
