Harry Nicoll as Eryka in Cavalli's L'Ormindo at the Globe Theatre © Stephen Cummiskey |
Its not even as if we are sticking to Handel's own casting. Whilst Didymus was written for a castrato, the title role in Solomon was written for a woman and he is often performed by a man. And in Giulio Cesare, the original Tolomeo was a woman whilst the original Giulio Cesare was a man, exactly the reverse of the sort of casting we became used to after the famous ENO production of the opera with Janet Baker in the title role and James Bowman as Tolomeo.
Valerie Masterson and Janet Baker as Cleopatra and Caesar in Handel's Julius Caesar at ENO |
Helen Sherman as Aurelio with cast of ETO's L'Assedio di Calais photography Richard Hubert Smith |
But if we look at the reverse, then in opera men only ever play women for comedy. Mark Rylance made a big stride in this direction when he played a number of Shakespeare heroines, such as Cleopatra, at the globe. James Conway's production of Monteverdi's L'Coronation of Poppea (at the Royal College of Music and English Touring Opera) was perhaps notable for the sympathy with which it treated the role of Arnalta, even though sung by a man. This was no comic book portrayal. But this was very much the exception, and few singers or directors seem interested in taking up the challenge.
Bette Bourne and Bloolips |
And if we move from simply gender swapping to more complex issues, then these are hardly ever explored, and baroque opera certain raises plenty. What about an opera where both the hero and heroine were portrayed as women. Plot is not of primary importance in opera seria, what counted to the original audience was the particular emotional situation. So if a production is true to the emotional spirit, it is surely fair game. And if you have a cast made up of predominantly high voices, then surely it is tempting to move things around a little and explore some of the complex emotions that the casting raises.
A few years ago someone mounted a production of Mozart's Don Giovanni in the night-club Heaven with all the gender roles reversed except the Don (played by Duncan Rock). So that he became a gay man chasing men, and it made a lot of sense. It was true to the emotional core of the opera, though of course the idea of transposing the vocal lines by an octave might not appeal. Opera Up Close's production of Madama Butterfly at the Kings Head, is one of the few I know to have really explored this territory as they made the heroine a Thai Lady-boy. The concept did not quite work because few of the sopranos singing the title role were convincing as a lady-boy. You felt that they should have been more radical and created a new version with a young man (perhaps a counter-tenor) playing the title role.
Perhaps that might be a bit too much for some people, but we do have to give more consideration to voice types and casting and not simply have a knee jerk reaction - Didymus = hero = man. Irene = passive = woman.
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Elsewhere on this blog:
- Voices, viols and phantoms: John Donne and musical hallucinations at Spitalfields - concert review
- Beneath the brusque exterior: Paul Spicer's biography of George Dyson - book review
- Not yet in focus: Un ballo in maschera at Covent Garden - opera review
- Thoughtful approach: Dufay Masses from Cantica Symphonia - CD review
- Complete change from Christmas classical: Kwartludium with Scanner - concert review
- Brilliance of sound: Bach violin concertos from Giuliano Carmignola - CD review
- 50 Favourite: Brodsky Quartet at Kings Place - concert review
- Revitalising tradition: The Wexford Carols - CD review
- Eclectic Mix: Lux de caelo, Choir of Clare College - concert review
- Thoughtful and imaginative: Plainsong from Portsmouth - CD review
- Serious and Seasonal: Westminster Abbey Choir at Cadogan Hall - concert review
- Saxophone music with balls: The North from Borealis Saxophone Quartet - CD review
- Beauty of tone: Siglo de Oro at Spitalfields - concert review
- Rare outing indeed: Hasse's Siroe - CD review
- Home
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