BY CHRISTOPHER WAINWRIGHT
Glyndebourne Festival Opera/Adelaide Festival
Saul by Handel
Adelaide Festival Theatre, 5 March
Enfant-terrible Barrie Kosky with an impressive team of singers, musicians and creatives brings a new and vibrant reinterpretation of George Frideric Handel’s 1739 oratorio Saul to life.
Hot off the heels of Glyndebourne Festival Opera’s premiere season, the Adelaide Festival with significant support – including the Commonwealth’s Catalyst Fund – brought to Adelaide what quickly became a fast sell-out season.
A full house often has a powerful effect on artistry, as well as the audience, and here this certainly seems to be the case. What Kosky and his team have done to Saul is amazing, surprising and heightens and pushes boundaries, while also respecting and enhancing the work’s drama, messages and Handel’s sublime music.
Handel’s Saul in itself is also a powerful work, based on the Old Testament battle of David and Goliath. David, having beaten Goliath, becomes popular and Saul’s popularity as King is on the wane. Saul isn’t happy; he’s power hungry and doesn’t want to lose and is willing to try as many tricks are in the book to get David killed.
If this reads like a story of United States or Australian politics, do not be surprised, as it connected to the woes of Handel’s day with power vacuums in the British Court.
Setting the scene for the drama is the period-sized Adelaide Symphony Orchestra under the direction of harpsichordist, organist and conductor, Erin Helyard. What Helyard achieves with the ASO in terms of clear, precise and dynamic orchestral playing is impressive. He applies his expert historical performance practice and makes it work perfectly with modern instruments. The masterly inclusion of a theorbo to the pit adds real depth and warmth to many moments in the recitatives.
If the music is not impressive enough, out of darkness the light gradually appears in a way which so effectively adds value and energy to the drama (a creative aspect well used throughout the opera); from which we see a huge head of Goliath and then the State Opera of SA Chorus dressed in stunning costumes with an amazing backdrops of flowers, food, and even a peacock for good measure.
And if the visual imagery isn’t setting of all your senses, then Handel brings in one of his energetic choruses, with an amazing Alleluia ending. Chorusmaster Brett Weymark and his ensemble had obviously spent much time in looking at diction, phrasing and harmony, and what comes through is a tight, clear, clean singing, even when at times Handel’s music is at a near break-neck speed.
The story then proceeds with the arrival of David (stunning British countertenor, Christopher Lowrey) and equally impressive baritone, Christopher Purves as Saul. What one witnesses with both of these fine singers throughout is their ease at moving through voice range, amazing breath control, dynamic range and the ability to give their characters great dramatic depth. Watching and hearing these two sing is an absolute privilege, not only because of their ability to entertain, but as they also allow you to experience vocal and dramatic artistry of the highest calibre.
It is not just the calibre of Lowrey and Purves which one enjoys, as the performances as well from Mary Bevan, Taryn Fiebig, Adrian Strooper, Stuart Jackson and Kanen Breen are of an equally high standard. To me, it seems to be a case where the opportunity to do such an amazing work with a great team of co-artists helps spur everyone on to do and give their best.
Kanen Breen deserves special mention as the high camp and incredibly entertaining Witch of Endor. Breen brings the witch to life with humour and personality; and found the perfect balance of good and bad witch. He also has an uncanny ability to appear when unexpected, and to add even further dramatic colour.
There are many fine and moving moments of theatre in this work, including the surprising and unusual Doeg, the hands that come out of nowhere to smother Saul, and the Wurlitzer period organ at the start of Part Two. While at first you question: ‘What’s Barrie up to?’, you appreciate and value his ability to bring something new and allow one to continue to enjoy and wonder in a 300-plus-year-old work.
I feel the need to congratulate all involved on bringing this amazing feat together. I know there will be many people, including me, who won’t forget this amazing artistic experience for quite some years!
Image supplied. Credit: Tony Lewis.
