Julius Caesar! By Handel, the man who brought you the Christmas classic The Messiah and its showstopper, the Hallelujah Chorus. I will refresh your memory. “King of kings, lord of lords, and He shall reign forever and ever, Hallelujah.”
How long should it take to sing those 14 words? An hour and a half? Because though technically it only takes about four minutes, that’s how long the Hallelujah Chorus seems to me. Maybe because I’m standing.
This opera did the same, took one phrase and sang it with every imaginable inflection and trill. If they sang everything just once this would be a twenty minute opera. But, even at the expense of the plot and pacing, the singing was beautiful. I kept being astonished at how the men could hit soprano-level high notes, until I found that Ceasar, for example, was sung by a woman. In fact in the duets with Caesar and Cleopatra, they sounded like they shared a voice.
So, people in unison seemed to be a theme in the staging as well. Those identical soprano voices were in unison, but people also made odd hand gestures in unison. Think of an exaggerated version of the itsy-bitsy spider song when a mother and son discuss their shared desire to kill the villain. So that was a little perplexing. And they didn’t set it in Caesar’s day, of course. I thought the villain was dressed in a smoking jacket to evoke Hugh Hefner in the 70s, and the backup singers for Cleopatra were in some on-point 70’s disco attire, and there was one moment when the military goes into a Charlie’s Angels pose. Why? I do not know.
The set was a black and grey 1970s conference room. Why? Maybe to make me think of office politics? Actually, everything was black and grey, except for Cleopatra, who was gold, and the villain in red.
So, I was distracted by the staging. Even amused at times. I don’t think I was supposed to be amused. Still, the singing was so clear, pure, and challenging that it made up for anything else.
And, sadly, that’s it for the 49th season of Opera in Saint Louis, cicadas and shaving cream and all. Next year, it’s the first opera my mom and I ever saw: Die Fledermaus, plus A Midsummer Night’s Dream as an opera, This House, and Don Pasquale.
This year was the best of all so far, I think.
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