REVIEW: Handel’s Saul – directed by Barry Kosky

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REVIEW: Handel’s Saul – directed by Barry Kosky

Attending a performance as part of the Glyndebourne Festival is more than just a night out at the opera. It is an event.

Glyndebourne is recognized internationally as one of the great opera houses of the world – the festival was founded by John Christie in 1934 and each year presents a program of six operas in its modern 1,200-seat opera house.

Named after the house and gardens in East Sussex in which the opera house has been built, the easiest way to get to a Glyndebourne performance is by train from London to the small village of Lewes. The festival then provides coaches to transport everyone to the estate.

You can tell the experienced Glyndebournians – arriving well before the performance starts, they come equipped with a picnic and make a beeline to secure the prime picnic positions. There are several restaurants on site also, so even if you aren’t quite organized enough to throw together a picnic you won’t starve.

This was my first experience of Glyndebourne in all its glory – I was excited to be seeing a production of Handel’s Saul, directed by Australian opera specialist Barry Kosky.

Kosky is renowned for his theatrical and over-the-top productions and he brings all of that flair to the dramatic masterpiece of Saul.

Handel composed this work in 1738 and it was first performed in London in 1739. It presents an interpretation of the biblical stories of the King of Israel, his son Jonathan, and David – the giant-killer.

Kosky’s production is visually stunning – a striking use of colour (and absence of it) against a black background, an eerie dreamscape transporting the action to a vaguely Elizabethan period. The sloping stage presents some challenges for the performers, but brings the action close to the audience. There’s also an irreverent humor throughout the production which is impossible to resist.

The story of Jonathan and David is often pointed to as one of the most homoerotic relationships within the biblical stories. Kosky embraces and celebrates this deep connection between the two men.

The cast is strong – Christopher Purves is commanding as Saul the mad king; Lucy Crowe is engaging as the wilful daughter Merab; Sophie Bevan brings out the girlish enthusiasm of Michal; and Benjamin Hulett as the High Priest delivers a jester-like insanity to proceedings. I would have liked a bit more from Paul Appleby as Jonathan – excellent singing but not quite with the same level of character commitment as the rest of the cast. However it’s Iestyn Davies as David who commands attention – the English-born countertenor has extraordinary range and a rich, warm tone that is beautifully haunting to listen to.

There are some incredible moments in this production, one of the obvious stand-outs is the dead march – the funeral of Saul and his son Jonathan – it packs an emotional punch that is breathtaking.

The Glyndebourne Festival is a unique way to experience opera. Kosky’s interpretation of Saul is an opera that sets the standard for how good opera can be.

Saul is being performed as part of the Glyndebourne Festival until 29 August 2015.