Cavalli: Hipermestra (23.09.17)

[Eine Alpensinfonie]

Opera on 3 - 6.30 p.m., 23.09.17

A rare chance to hear Cavalli's little-known opera Hipermestra from this year's Glyndebourne Festival Opera, in an edition prepared by William Christie and staged by Graham Vick. Danao, King of Argos has been told by a prophet that he will be killed by his own nephew. His solution - to marry off his fifty daughters to his brother's fifty sons, and instruct his daughters to kill their grooms on their wedding night. Unfortunately for him, his daughter Hipermestra falls in love with her husband Linceo, and refuses to carry out her father's plan.

Christopher Cook is joined in the box by opera historian Sarah Lenton to talk about the history of the work, and also talks to William Christie about what needed to be done to bring it to the stage.

Hipermestra.....Emoke Barath (soprano)
Linceo.....Raffaele Pe (countertenor)
Arbante.....Benjamin Hulett (tenor)
Elisa.....Ana Quintans (soprano)
Berenice.....Mark Wilde (tenor)
Danao.....Renato Dolcini (baritone)
Vafrino.....Anthony Gregory (tenor)
Arsace.....David Webb (tenor)
Alindo.....Alessandro Fisher (tenor)
Delmiro.....Rodrigo Ferreira (countertenor)
Orchestra of the Age of Enlightenment
William Christie (conductor).

[Richard Barrett]

to marry off his fifty daughters to his brother's fifty sons

One of the more far-fetched corners of Greek mythology, I've always thought, whichever way you look at it.

[doversoul1]

Here are two reviews (and some photos) Both four stars. I like this bit by Andrew Clements;

You’re unlikely to see this rarity better staged anywhere, though whether you need to see it at all is another matter.

https://www.theguardian.com/music/2017/may/26/hipermestra-review-glyndebourne-graham-vick-william-christie-oae

https://www.theguardian.com/music/2017/may/21/hipermestra-review-superbly-sung-uk-premiere-of-cavallis-uneven-tragedy

I think Emoke Barath is one of the very best young Baroque sopranos in the current early music scene, and the countertenor Raffaele Pe is probably one of the ‘leading’ countertenors of the latest generation. Even with the synopsis, I doubt if I’ll have much idea what’s going on or even who is singing but it should sound spectacular, so I am very much looking forward to it.

http://www.glyndebourne.com/tickets-and-whats-on/events/2017/hipermestra/

[Dave2002]

Go for it.

It was very good - and the orchestra participated in the action as well, which won't appear on R3. I have recollections of a very funny drag queen, or did I get that wrong?

[doversoul1]

Go for it.

I did. I don’t know how it was possible to enjoy three hours of almost solid recitative in a language I only understood a few words and phrases here and there but I did, very much.

It was very good - and the orchestra participated in the action as well, which won't appear on R3. I have recollections of a very funny drag queen, or did I get that wrong

It must have been Delmiro; Rodrigo Ferreira (countertenor)

Good news for Baroque opera fans
Next Thursday Opera matinee
Handel's Lucio Cornelio Silla
Europa Galante
Fabio Biondi

http://www.bbc.co.uk/programmes/b095qqq2

Next Saturday Opera on 3
Monteverdi's L'Incoronazione di Poppea
La Venexiana

http://www.bbc.co.uk/programmes/b0965q50

[Dave2002]

I think without the words, meaning and action it really is quite hard going. I've heard it twice now. I'm not sure whether one can gradually get to know/like it. It is not unpleasant, and perhaps it does give some preliminary insights into the composers who came slightly later. There is a lot of almost recitative - and one hopes it'll take off into something else, but it manages not to for a very long while.

[David-G]

I haven't listened to this yet - I hope to find time to do so on the iplayer. On the stage, Hypermnestra was extraordinarily powerful - for me, the most moving of all the Glyndebourne productions this season. I am in some doubt whether that will come through on the radio, without the staging - hopefully it will. The opening of Act 3 - Kati Debretzeni's solo violin improvisation, standing on the pile of rubble of the destroyed city, was unforgettable. As was Emoke Barath's lament later in the act.

[Dave2002]

One thing which largely did not affect the R3 presentation was the use of some modern equipment as props - armoured vehicles driven onto the stage, modern weapons etc. This was mentioned by the announcer though. For me this did not affect my enjoyment of the opera in the visual presentation, but some people may not like it. We have got used to this sort of "updating" in theatrical productions - sometimes it works well, other times not. The staging was a whole lot less bonkers than some other Glyndebourne productions in recent years. I preferred it to the presentaion of Mozart's La Clemenza this summer.

I should perhaps also mention that there don't appear to be any CDs or other media of this work available, so if anyone wants to have it for a longer perioed than the iPlayer allows, some effort will be needed to record it - for example for playing in the car etc. Whatever one thinks about home recording, this is such a rarity that it will represent the only way of hearing it for some time - until eventually Glyndebourne issue CDs or other versions of this production. I should have remembered to set my PVR to record this - but I forgot! Lessons for the future ....!!!