The San Diego Opera (SDO) production of George Frideric Handel’s “Julius Caesar in Egypt” presents a writer’s dilemma: how to come up with a range of superlatives to describe its vocal, visual and aural riches.
Premiered in London in 1724, the work ” set in Alexandria in 48 B.C. ” is an opera lover’s delight, chock-a-block with numerous arias, duets, baroque ornamentation, glorious orchestration, a smaller continuo ensemble comprising harpsichord, flute and cello, and ” in San Diego ” a superlative company headed by Polish contralto Ewa Podles in the title role.
Heard in recital in La Jolla last season, Podles possesses a true contralto, the lowest female range. Its size, timbre and facility are electrifying. She not only pours on the chest voice when she wants to, she also negotiates period embellishments with accuracy and aplomb. She is especially stunning accompanied by obbligato horn solo in “Va, tacito e nascosto,” Caesar’s to arms vow to overcome Egypt’s evil co-ruler Ptolemy (sung by veteran countertenor Brian Asawa).
Asawa possesses a voice of arresting beauty and all the fioratura finesse to make his a remarkable performance. As if that were not enough, he’s an excellent actor who obviously relishes his character’s petulance and machinations. He wears some of Michael Stennett’s most fabulous costumes, swishing his capes and trains to the manner born.
Acclaimed worldwide for such “trouser roles,” and well known to SDO audiences, mezzo soprano Vivica Genaux brilliantly sings her first Sextus, a young man bent on defending his widowed mother, Cornelia (mezzo soprano Suzanna Guzman). Cornelia is sexually set upon by both Ptolemy, who beheaded her husband, and his henchman Achillas (excellent baritone Alfred Walker in his SDO debut). Scenes between Genaux and Guzman are rife with vocal beauty and touching filial/maternal devotion.
The role of Cleopatra ranges from seductive wiles to true, heartfelt lament. In this production the Egyptian beauty is impressively sung and acted by Lisa Saffer in her SDO debut. The young wasp-waist soprano is truly lovely to look at in her six stunning costumes. She is diminutive enough to make a convincing pair with Podles, who is not tall at all.
Other roles are well handled by countertenor Mark Crayton and bass-baritone James Scott Sikon. San Diego Symphony musicians are exemplary under the baton of veteran baroque conductor Kenneth Montgomery. John Copley’s stage direction adds dimension to the opera seria. Instead of a mere evening of aria after aria, he creates an enthralling, dramatic unfolding that combines pageantry, dazzling vocal artistry and true emotion, which plays out fluidly on John Pascoe’s magnificent sets, lighted by Thomas J. Munn.
Don’t expect “Aida” in the realm of costumes. The production, first created for English National Opera and later modified by the Metropolitan Opera, follows the 18th century tradition in which singers wore their own clothes adorned with certain pertinent motifs. Romans are Romans; Egyptians appear as if from King George III’s court. The scenic design also mixes periods. Admittedly, one must also suspend disbelief as to genders.
Do go prepared by reading the opera’s synopsis and, if possible, by listening to a recording. The rewards are great in this glorious world of the baroque. You will not see and hear a better company anywhere in the world.
Remaining performances: 8 p.m. Friday, April 21 and 2 p.m. Sunday, April 23 at the Civic Theatre, 202 C St. Tickets range from $27-$142. For tickets and information visit www.sdopera.com or call (619) 533-7000.
