For Dessay fans everywhere, the Met's last Live in HD transmission on April 27, 2013 of Giulio Cesare was momentous. In what is likely her last role at the Metropolitan Opera, Natalie Dessay's venture as Cleopatra in Handel's marathon masterpiece was a welcome and long-awaited triumph. She has not been this healthy physically and vocally in quite a long while. Performances run in house until May 10th, the last I which I will also see.
Natalie Dessay debuted her 2011 Cleopatra in a now infamous production by Laurent Pelly in Paris (the furore was over her exposed breast, which in actuality, was fake). Coinciding with that debut was the release of her Grammy-nominated Cleopatra recording, which sports many of Cleopatra's arias as well as the world premiere of 2 "rediscovered" original arias which were replaced before the premiere.
The title role is taken by David Daniels, but the real star is of course Cleopatra, for whom the David McVicar production obviously centres on. Cleopatra sings 7 of the 8 arias and is heavily choreographed in 4 of them. Done well, as in the case of Natalie, it can be a huge tour de force.
The production, set during Great Britain's colonization of India, is fluid with time periods and throws in costumes from the Flapper and Baroque eras. Though billed as a "new production" at the Met, it's been borrowed from the oft-used Glyndebourne production with Danielle de Niese premiering back in 2005, which has been seen in Chicago and Lille as well.
Minimally cut compared to older performances, there are still some rearranging and cuts of the score.
Minimally cut compared to older performances, there are still some rearranging and cuts of the score.
The singing:
David Daniels, countertenor: David's voice has certainly aged over the years, the volume and power decreased and the higher register thinner and shriller (especially in vowels such as "ee" and "oo", such as in the recitative preceding "V'adoro pupille"). His performance was adequate, but not particularly enlightening or virile. Especially in light of younger countertenors who have done wonderful work with the roles such as Lawrence Zazzo or Andreas Scholl, the performance was underwhelming vocally.
Natalie Dessay, soprano: Natalie Dessay's vocal crises are certainly not over, but her performance in this run has been a revelation. She hasn't been well for a run for a good 5 years (although she did cancel the April 9th performance of Giulio, for whatever reason). Her high register is in the most trouble, ironically these days, cracking on the high C during "V'adoro", omitting the high D/E-flat in her cadenza of "Piangero" altogether, and sounding shrill and edgy in general anywhere above the staff. However, the recent troubling wobble seems to be largely missing, even in exposed arias such as "Se pieta". The trademark beautiful light, limpid sound is still there, sounding ravishingly seductive, girlish, and vulnerable by turns.
Christophe Dumaux, countertenor: Christophe was stunning as always, having sung Tolomeo in probably every single modern production of Giulio Cesare. The colouratura was impeccable, accurate, and thrilling, especially in the da capo embellishments. The vibrato and timbre is unusual, but not unfriendly. Hopefully Christophe moves on to tackle Giulio in a few years as well.
Rachid Ben Abdeslam, countertenor: Although singing only one aria, as Natalie Dessay has said, it's a showstopper. In "Chi perde un momento", his Middle Eastern-inspired cadenza is a marvel and a delight. His comic timing in recitatives is equally hilarious. An auspicious Met debut role.
Alice Coote, mezzo (pant's role): Alice Coote sounds a little worn, through her colouratura technique is certainly capable of the demands of the role. The lyrical moments are not particularly enlightening or moving, but she seems engaged in her arias. Although too mature to be a convincing young Sesto, she is evidently still capable of singing the music.
Patricia Bardon, mezzo: Patricia's mezzo has taken on a noticeable wobble which makes exposed, slow arias such as "Priva son conforto" rather soporific. However, during the more active recitatives and happier arias later on, her voice is less of an issue. Again, with Alice, quite an adequate performance vocally, but neither have been the most convincing or virtuosic of singers to tackle these mother-son roles.
Guido Leconsolo, baritone: In his Met debut role as well, Guido's stage presence is wonderful, his singing is not particularly elegant. However, it is certainly aggressive and virile, which suit the barbaric Achilla of this production perfectly. He is more "photogenic than phonogenic", since the role seemed more convincing in HD broadcasts than via the radio broadcasts.
The characterization:
David Daniels, Giulio Cesare: Similar to his vocal state, David Daniels was adequate, but not particularly revelatory on stage. He is obviously comfortable in this opera and role, but he seems more preoccupied with the colouratura demands in arias such as "Empiro diro tu sei" than acting out this larger-than-life Roman emperor.
Natalie Dessay, Cleopatra: Natalie Dessay's Cleopatra is what makes this production. From risque dancing in "Non disperar", "Tu la mia stella sei", and "Da tempeste", she embodies the youthful physicality and sexiness of Danielle's original Cleopatra, but with the additional depth and artistic maturity that infuse "Se pieta" and "Piangero" with (as always) stunning and touching sincerity and tragedy. The recitatives are sung with more dramatic presence than I've previously heard, due to Harry Bicket's or David McVicar's coaching, likely. Natalie was confident and enjoying the fun moments of the opera, noticeably throwing her hands up in triumphant "peace signs" with aplomb after "Da tempeste", her voice and acting more secure than what I have seen and heard from earlier performances in the run. However, nearing 50, the Live in HD transmission is not friendly up close to her botox-free face, which tends to scrunch up in particularly effortful moments.
Christophe Dumaux, Tolomeo: Like his singing, Christophe can really do no wrong as Tolomeo, executing even a backflip in Act III. He plays the part of the spoiled brat boy-king extremely well, although it is thankfully quite different from his other recent interpretations of the role in Paris and Salzburg.
Rachid Ben Abdeslam, Nireno: Rachid was fantastic and entertaining, playing the flamboyant and comical Nireno, which makes other refreshing appearances in other moments of the opera beside his own recitatives and arias. His Bollywood dance moves in "Chi perde un moment" are adorable and cheeky.
Alice Coote, Sesto: Alice Coote does a wonderful job portraying Sesto's awkwardness, fear, and insecurity, though the dramatic arc is less than in other productions. However, physically, her portly figure is a little less convincing as the youthful Sesto, although she seems fully engaged even if her vocal resources are not as astounding.
Patricia Bardon, Cornelia: Patricia Bardon physically matches up with the grieving widow that must be attractive to both Tolomeo and Achilla, but her acting tends to be (as another audience member pointed out) vapid in the slow and touching arias. Though in Act II and Act III, she acts with a vengeful feistiness that outweighs the boredom of Act I.
Guido Leconsolo, Achilla: Gudio Leconsolo is a big, burly, masculine presence on stage, and he brings a physicality and roughness to the role that is certainly suitable to the role.
John Moore, Curio: Vocally and dramatically, this character does not get much to sing or do! But in this production, he wears a kilt, so that's fun.
Overall, a fantastic 5 hours which certainly is less brilliant in certain moments than others, but overall a cast that has obvious put tremendous work into rehearsal and on stage, which pays off the majority of the time. Harry Bicket was certainly incredible as well as always, playing the harpsichord as well as conducting a reduced Met Orchestra, which brought a bright modern sound to a stylistically impeccable Baroque score. Renée Fleming hosted the Live in HD transmission, bringing her radiant yet at times cheesily American presence backstage.
The opera runs until May 10th, a fantastic opportunity to see this production, opera, AND Natalie Dessay, who is finally in an opera once again that has an unabashedly feel-good happy ending.
