Ercolo su'l Termodonte: Vivaldi Tackles Hercules

Despite some misgivings, I very much enjoyed getting to know Vivaldi's infrequently performed opera, but couldn't help but wish for a bit more in all areas of this production, musically, and dramatically. Sadly, a good bit of the singing was sub-par which is particularly disappointing when getting acquainted with a new score.

Zachary Stains meets with some pretty rough vocalism in his first bravura aria - the voice getting coarse and reedy in some of the lower passages and with some really smudgy coloratura to boot. (Note: I recently listened to Stains in the Christie led "Ulisse" - where he sounds like a different singer altogether.)

To his credit in what can't have been an easy task, Stains appears more natural and comfortable than I've ever encountered required to be naked for more than a split second. As most are by now aware, Stains is, save for a cape and a lion skin slung over his shoulder, completely nude for almost the entire opera. Physically, the kid has nothing to be ashamed of, great abs, strong legs and arms and physically, he makes a convincing Hercules.


Fortunately, his later arias are dispatched with far more attractive tone, with an unusual beauty to the upper mid range and higher notes, even though the role doesn't offer much opportunity for showy high notes). Similarly, the fierce coloratura he tackles in Act III poses less of a problem for him, though never completely at ease. Chalk it to warming up. He's a smart singer and knows how to make the most out of the recitatives and, along with his athletic physicality, brings an almost cardboard character very strongly to life presenting a most likable Hercules.

The most beautiful singing of the evening easily comes from Randall Scotting who doesn't (physically at least) resemble your "average" countertenor. Well built and solid, some early physical gestures seem a tad elaborate, for so strong a character, particularly from such a big guy. Once alone however, Scotting projects an easy, assured masculinity and his two big arias are dispatched stunningly, each absolutely swoon inducing, for fans of baroque opera. What makes them particularly enticing is his attractive timbre, with more of a rich contralto sound than most countertenors I have heard. Smooth and rich, Scotting moves through some of Vivaldi's most virtuoso writing with ease and exhibits a freedom that only comes from a genuine joy of singing. I look forward to hearing a lot more from him.

Mary-Ellen Nesi's Antiope wins top female honors, offering thrilling, hair raising singing and never letting her intensity flag for a moment, ending with her big aria before the curtain and bathed entirely in the blood red light of hell, giving us one of the best moments in the entire show.

A bit thin toned for my taste, Laura Cerchi's Martesia nonetheless hits all the comic aspects of the character just right.

As Alceste, Luca Dordello's singing was vocally inconsistent from start to finish; sometimes producing a lovely tone and other times pure, ear splitting acid. Inaccuracies abounded in the passagework making me believe coloratura is neither friend nor forte.

I liked the Italian countertenor Filippo Mineccia's Telemone. Not a big role, but makes something fun out of it, which is harder than it sounds.

Marina Bartoli had me at first, but then the voice sounded tired, offering up even more smudged fioriture and high notes of acid tone. She is lovely to look at, however, and she and Scotting make an attractive pair of lovers.

I've liked much of his work in the past, but John Pascoe's production and direction seems to have taken a "nymphs and shepherds" approach to something that needed more blood and gore, notwithstanding what is likely a record number of severed phalluse on any stage. In an interview, Pascoe admits to taking a lighter approach stating this is the closest thing to opera buffa Vivaldi composed. I think that approach was a mistake and it shows. The battle scenes lack any real sense of danger and the female's costumes had me wondering what if Star Trek of the 70's had mounted Walküre?

From the pit, Alan Curtis ignites a mostly sparking performance from th 20 or so members of Il Complesso Barocco, though it must be said, some tempi seemed a bit brusque, likely contributing to some of the sloppy singing during the opera's more bravura moments.

Overall, it's a worthwhile watch and listen and a nice break from the overly familiar.

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Covent Garden's Glorious Król Roger

Hands down Royal Opera's HD webcast of Król Roger was the easily most fascinating and beautiful HD of any performance I've watched this season.

Kasper Holten's production (along with his lighting, set designer and costumers) laid to rest any notion that Syzmanowski's work is "more oratorio than opera." Here was a compelling drama drawing one into this incredible score and into the head (literally and figuratively) of its protagonist. Within the "stage" area of an ancient ampitheatre, designer Steffen Aarfing created an enormous, three-story, head wherein the opera's first two acts (mostly) occur. Subtlety here was both unnecessary and unwelcome to the symbolism, though one didn't feel as though being banged over the head with obviousness.

Georgia Jarman's strong good looks, her blonde locks pinned under a Louise Brooks bob, created a stunning Roxana, compelling in action and gorgeous vocalizing (indeed, much of Roxana's music in the second act is a wordless vocalise).


Kim Begley's voice has a bit more of a spread to it these days, but his Edrisi was a powerful force in the staging, both as participant and commentator.

The casting and direction of Saimir Pirgu as The Shepherd was a stroke of genius and one of the strongest reasons for the success of this production. Almost glowing in his orange coat/robe and white trousers, his very presence was welcoming though one could easily see why Roger would be threatened and wary. The sometimes high flying role presented little in the way of problems for Pirgu who sailed through the score with ease earning a hearty applause at his curtain.


The dancers - a troupe of mud smeared, men in tighty-whitey's at first bothered me (just a bit) but fit into the action bringing a hypnotic quality to eh proceedings that was as unavoidable as Roger's journey.

As Roger, Mariusz Kwiecien, if not in his absolute greatest voice (he was ill during some of the run) nonetheless gave a performance of such searing intensity, and beauty putting before us a frightened, tormented ruler who held out his resistance until the end. only reluctantly - almost entirely against his will, but unable to do otherwise, became accepting of the message of The Shepherd (who is revealed to be a power-hungry monster). In Act two he sings, "The King has become a pilgrim." Later, "The King has become a beggar."

Antonio Pappano - easily the greatest cheerleader for Szymanowski's opera - leads the Royal Opera forces (including a marvelous schoolboy choir) in a powerful performance, likely as strong a reading as one is going to encounter (and making me regret not being in London, or in Boston for what was apparently another great performance from the BSO). During the intermission, he gave an illuminating discussion from the piano analyzing and explaining the score that should also not be missed.



The final scene, played out before the ampitheatre, the head now gone, (more symbolism) and smoldering fires, flames shooting in the dark, as Roger (no pun intended) "see's the light," was pure heart-in-your-throat theatre. Here, Kwiecien's Roger, beaten (literally and figuratively) rises, for the king's last line "And, from the lonely depths of my power, I pluck my pure heart to offer to the sun in sacrifice," hanging onto that final, powerful note longer than the orchestra, as blinding light explodes across the stage. The effect, the singing and general music-making causing the audience to erupt into cheers, shouts and applause while the music was still hanging in the air. When the curtain rose on Kwiecien alone, it was one of those moments one sensed that neither he, nor the audience will ever forget. I certainly won't.

If you did not catch this, I recommend you remedy that problem immediately by watching the performance while its still available (for free) on youtube in superb quality.

Update (4 October 2024): Somehow I thought I deleted the no longer available YouTube link, but instead deleted the fact this performance is available both on DVD and Blu-Ray - the latter offering a remarkably crisp image and superior sound. Either way you can't go wrong. 

Billy Budd: The Shirtless Option?

Members of several online opera sites are speculating whether next season's production of Billy Budd will find Nathan Gunn shirtless in the title role or not. Though the Met's production hasn't as yet featured a topless Billy - Gunn seems to appear regularly in roles that "require" him to have at least a scene or two sans a shirt. I'm guessing his Met costume will be a bit "briefer" than past interpreters of the role at Lincoln Center.

The role of Billy has - in a great many productions over the last 20 years or so - featured quite a number of half naked Budd's. Here are a few of the more famous/notable ones. Note: none of them is Mr. Gunn.