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Giulio Cesare review – concert staging with plenty of sublime, and ridiculous, moments

Barbican, LondonHarry Bicket and the English Concert’s performance of Handel’s opera was full of compelling performances, most notably Louise Alder’s Cleopatra, Christophe Dumaux’s Caesar and John Holiday’s PtolemyThere is a passage at the end of Act 1 of Handel’s Giulio Cesare when a mother and son sing together, unaccompanied, united by loss. In this no-frills concert staging, mezzo-sopranos Beth Taylor (Cornelia) and Paula Murrihy (Sesto, a trouser role) faced each other, barely projecting, their vocal lines – locked in sighing parallel thirds – ringing absolutely true.It was one of the powerfully intense moments in a performance that ranged from the sublime to the ridiculous. Also sublime: countertenor Christophe Dumaux’s lucid, liquid ornamentation as Caesar admits he has fallen for “Lydia” (Cleopatra in disguise), entering competitive musical dialogue with a solo violin and shrugging at a flurry of musical leaps he was never going to imitate. Or his extraordinary control of a single unaccompanied sustained note at the start of his heartfelt aria in the final act, shaping an achingly slow crescendo and decrescendo in a way that was little short of bewitching. Or John Holiday’s compelling turn as Cleopatra’s brother Ptolemy, his countertenor flexible, his ornamentation nimble. Or the English Concert under artistic director Harry Bicket – always energetic, always neat, never flamboyant – whose string tone was warm or frozen as the emotional temperature demanded, the horns burnished, the occasional woodwind solos elegantly shaped. Continue reading...

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