I didn't realise I would see three Händel operas this year. But I did. I actually saw Giulio Cesare in Egitto in the Deutsche Oper Berlin this summer, before the season ended and the theatre went on summer break. I have to say, in comparison with the previous Händel operas I have seen earlier this year, this one was the most epic. It's also the longest: it clocked at 4 hours and 45 minutes, including 2 intermissions. But I have to say, the time invest was absolutely worth it.
This opera dates from 1724. And it is long, absolutely. The setting is in Egypt, 48 BC, following Julius Caesar’s victory over his rival Pompey. Caesar arrives in Egypt to pursue Pompey, only to find that King Tolomeo has brutally executed him to win Rome’s favor. Disgusted, Caesar aligns with Tolomeo’s cunning sister, Cleopatra. Meanwhile, Pompey’s widow Cornelia and son Sesto seek bloody revenge. Political warfare, assassinations, and psychological manipulation culminate in Cleopatra taking the throne with Caesar's backing. This is a Late Baroque opera seria. It is highly structured, driven by standard secco and accompagnato recitatives that propel the action, punctuated by expansive, virtuosic da capo (A-B-A) arias that serve as deep psychological distillations.
Now, this is definitely not my favourite territory, when seen purely from a musical perspective. The structure is monotonous, and the harmony is absolutely diatonic. But what I appreciated is what was done on this Baroque music. The production I saw was David McVicar’s legendary, definitive production (originally from Glyndebourne). McVicar completely deconstructs the dusty "toga and sandal" Baroque trope. He reframes Rome as a late-19th/early-20th-century British colonial empire invading an exoticized, highly theatrical Egypt. The production constantly flirts with dark political satire, Bollywood-style choreography, and surrealist visual metaphors (like Cleopatra appearing as a 1920s Louise Brooks flapper or a WWI fighter pilot). This is sharp, self-aware irony, which is appropriate for me, who appreciates the meta-theatrical, socio-political bite.
Additionally, the casting includes several countertenors. The resulting acoustic landscape is highly uncanny, detached, and top-heavy. It is after all a historically-informed performance, restoring the original high pitches via countertenors and female pants-role singers. And there were enough stage tricks that were exhibited that the four hours definitely flew by, and I was not bored at all.
So yes, overall, I had fun watching this. Again, this is not my typical territory, but it definitely pays off to venture out every now and then.
