Tolomeo also dons some alarming six-inch long golden finger nails, symbolising his petty sadism, whilst Cleopatra’s series of hotpants, slips, and later military uniform show her to be not only a siren, but a multi-layered character. The conservatism of the Romans - Cornelia in her formal skirt suit and Cesare, weary and austere, in his muddied, military uniform, contrasts with the electric blue and gold silk worn by Tolomeo and Cleopatra (the only characters in colour). Candle-like lighting effects mesmerise, and during the opera’s seduction scene, Cleopatra dips her feet in a pool of water in the centre of the set.Ĭostumes paint the culture clash between the Romans and the Egyptians. The stage begins dominated by a Brutalist concrete barrier, which then revolves to reveal the inside of a glittering pyramid - a tomb of gold with a labyrinth of connecting passages within. This stunning production by Tim Albery has a multifaceted set (designed by Leslie Travers), which provides the backdrop for both a world of war and a world of sensuality. This means that the first section returns at the end, but with added musical ornaments improvised on the spot by the singer. Each of the arias in Giulio Cesare is unique - some with virtuosic vocal fireworks, and some the most sublime that Handel ever wrote.Ĭertain arias, such as Sesto’s ‘ Svegliativi nel core’, follow a popular format of the time known as ‘da capo’ (literally ‘from the top’). The connecting recitative (which is essentially sung speech performed with ‘continuo’ such as harpsichord accompanying the singers), contains the plot development. During the arias, the plot is paused and a character expresses their feelings in that moment, providing the audience a window into that character’s soul. The score is broken up into arias and recitative. As such, the orchestra features various early instruments including recorder, viola da gamba and theorbo (a large lute), which all help create a very distinctive sound world. Giulio Cesare was written in the Baroque era (c.
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