As operatic productions go, the COC spring 2012 production of Semele sparked a firestorm of controversy.
Here are a couple quotes to give you a sense of the critical reaction:
“Imagine someone taking the concept of bad fusion cuisine to opera, and you get the gist of the mess that the COC calls Semele.” – John Terauds, Toronto Star
“We have nonsense, we have utter nonsense, and then we have what happened in the Four Seasons Centre on Wednesday night, possibly the most ludicrous spectacle ever mounted under the aegis of the once-proud COC…” – Arthur Kaptainis, National Post
While the critics piled on the hate, some found the bold production engaging and fun. But despite the furor over the staging, almost all agreed that musically, it was a strong production.
I’ve posted some photos of the production above, to give you a visual sense of the opera. But in reality, when it comes to radio, it really doesn’t matter what it looked like.
In the title role, we have Jane Archibald. She’s a Canadian soprano whose career is fast on the rise with premieres this season at the Royal Opera House in London and Zurich Opera as well as returns to the Met, Paris National and the Bavarian State opera companies. She’s currently getting set to sing the title role in Zurich Opera’s Lucia di Lammermoor.
She’s joined by fellow Canadians, mezzo Allyson McHardy (as Ino and Juno) and soprano Katherine Whyte as Iris.
The male cast is filled by tenor William Burden (as Jupiter), bass Steven Humes (as Cadmus and Somnus) and countertenor Anthony Roth Costanzo as Athamas. You might recall Costanzo from the Montreal International Musical Competition in 2009 where he made the final round.
Synopsis, courtesy of the Canadian Opera Company:
Act 1
In the temple of Juno, Cadmus, King of Thebes, prepares for the marriage of his daughter Semele to Prince Athamas. Semele has been inventing obstacles to the marriage, troubled by her secret love for Jupiter. She calls to him to help her. Jupiter honours Semele’s cries for help and sends thunderbolts to indicate his displeasure with her impending marriage. Terrified, everyone leaves the temple. Semele’s sister Ino tries to comfort Athamas, revealing that she herself loves him. In the midst of this confusion, Cadmus enters to describe the scene that has just occurred: Semele has been whisked away by a giant eagle, which the priests identify as Jupiter. As the act ends, Semele is seen enjoying her new role as Jupiter’s mistress.
Act 2
Juno is furious when she discovers that her husband Jupiter has built a new well-guarded palace for Semele. She swears vengeance on Semele, and decides to enlist the help of Somnus, the god of sleep, to help her defeat her rival. As Semele awakes in the castle, Jupiter arrives and reassures her of his love. He detects from her words that she has dangerous ambitions of immortality. Not wanting to address the fact that she will never gain immortality, he diverts her attention by transforming the palace into an Arcadian grove. Ino is summoned from earth to keep her sister company.
Act 3
Juno and Iris rouse Somnus, god of sleep, from slumber. Juno orders him to give Jupiter a dream that will enflame him with such a passion for Semele that he will do whatever she asks. Next, Juno presents herself to Semele disguised as Ino and gives her a magic mirror, which, when she looks into it, makes Semele fall in love with her own reflection. Juno tells her that the only way she can gain immortality is to make love to Jupiter in all of his godly splendour instead of his mortal disguise. Semele agrees. Jupiter returns enflamed with passion for Semele but she spurns his advances until he agrees to give her whatever she wants. He rashly agrees to Semele’s conditions but is aghast at her request that he appear in his god-like form. He desperately warns her of the danger she will face, knowing it will be the cause of her death. Juno exults in her victory as Semele is burned by the flames of the god’s power.* Ino returns to Thebes and relates the story of Semele’s death and describes a dream in which Jupiter reveals his wish for her to marry Athamas. Apollo predicts that a phoenix shall rise from Semele’s ashes, a god more mighty even than Love – Bacchus, god of wine. Everyone celebrates this fortunate outcome.
*Director Zhang Huan consciously omits Handel’s final joyous chorus from the performance, leaving the singers to lament Semele’s death while Ruan sweeps away her ashes. The ending is in keeping with the Buddhist ideals of the impermanence of all things. And, yet, conclusions are never definite and the cycle of life continues when the final chorus echoes throughout the theatre as the audience exits.
Click below to view the COC's programme for the performance: