Tolomeo 28 29 Essay: Tolomeo Tolomeo: the Thorn in the Mind
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Artwork pages 1/9/06 12:24 Page 28 Essay: Tolomeo 28 29 Essay: Tolomeo Tolomeo: the Thorn in the Mind Background characterisation shallow. And these are the opera ‘buffs’, who titter through performances! George Frederic Handel was the most One of the happiest discoveries of my career inventive and accomplished composer of is that, in general, audiences instinctively opera in Britain, and probably the most know better. significant impresario. He not only composed very many operas, but he arranged for their The Production production, engaged singers and theatres, rehearsed and conducted performances. Tolomeo has fascinated me for years. The Tolomeo (1728) belongs to his second period Argument printed with the wordbook (the under the umbrella of the Royal Academy opera would have been performed in Italian (after the almost unbelievably creative seasons with a printed wordbook available sale in the of 1724-5, which included Tamerlano, Giulio dimly lit theatre) is stirring: Cesare and Rodelinda). At this point Handel had lost his theatre, his lead singers, and Cleopatra, who never appears, presides over much of his following to a rival; renting the the action. She is the textbook cruel mother: King’s theatre, he had to outdo the husband discarded or dead, she raises to her competition, so he secured a line-up of the throne (and bed?) her the firstborn son; finest Italian singers: the castrato Senesino unsatisfied, she exiles him, sends his wife to remained with him, closely followed in fame by slavery, butchers the children, and then raises the two sopranos Francesca Cuzzoni and up the younger son to supplant him (as he Faustina Bordoni, the bass Boschi, and the supplanted the father, no doubt) and make less accomplished castrato Baldi. war on his brother. Those separately shipwrecked souls on Cyprus (Tolomeo, his For these singers he wrote Tolomeo. Some wife Seleuce, his brother Alessandro) are all ink has been spilled over ‘the rival queens’ damaged by the Egyptian queen, and each who sang the roles of Seleuce and Elisa, and calls out to her for explanation. who are reputed to have carried their colourful rivalry off stage. Compelling as this type of On the island, the head man Araspe and his story is, it seems likely to me that the rivalry sister are drawn to Tolomeo and Seleuce. was what we would now call spin, exploited to Their unrequited loves hurt and pervert them, help ticket sales: there is no evidence of and as usual this is at first more interesting Cuzzoni or Faustina scrapping before or after, than the fate of the long suffering heroes. I had though they were frequent colleagues. The to find a way to show the strength and beauty Italian opera (written by a Saxon in London) in Tolomeo and Seleuce, characters who want occasionally attracted the same sort of the release that death promises, and in his mocking press that Handel opera still gathers weaker brother: family values! from its contemporary fans: for some reason people love to say that its plots are silly, its Tolomeo starts out with a resolution to drown musical and dramatic language (the da capo himself in the sea; there under the waves he aria, written with an A statement followed by a finds another man struggling to live, and he B statement, and then a version of the A saves him. Such a struggle – between the statement repeated with vocal ornaments instinct to breathe, and the impulse to respect showing the musical taste and dramatic and value another’s life – would not be pretty. sensibility of the artist) ‘static’, its Recognising his brother, who he supposes a Artwork pages 1/9/06 12:24 Page 30 Essay: Tolomeo 30 31 Essay: Tolomeo traitor, Tolomeo thinks to drown the man in his finding the great beauty in such faces, in such arms, but he resists the brutal impulse: he will ordinary, casually cruel places. not be dehumanised, however harsh his own sufferings. Bitterly, he rescues him. Again and Even Alessandro, who finds in Elisa a again he thinks that he has reached the replacement for his mother as soon as he extremest verge – by Elisa’s perverse regains consciousness on the shore, resists affection, Araspe’s cruelty, the fear that his this compulsion, and takes the risky, nearly own senses lie to him, and the suspicion that hopeless part of his brother. Hardly trusted by he cannot even remember his own love – and Seleuce or Tolomeo, and nearly enslaved by each time his own desire for annihilation is Elisa and outmanoeuvred by Araspe, quelled by his need to recall Seleuce, his faith, Alessandro has an uncomfortable but love and only hope. The key to Tolomeo’s interesting path from the shore, through all his strength is his resistance, his inalienable won weakness. humanity, which the careless observer careless might see as passive. He is a The villains – or at least those who seem to rounded depiction of misery, but as eloquent hold power – are complex. Araspe is brutal, prisoners have taught us, misery does not but sensitive; he has the bully’s knowledge of efface strength, nuance, even greatness. emptiness. Were he to dominate Seleuce, would he be changed, or would he throw her As Michael Vale and I worked on this, we away with the other toys, and feel still worse? were determined that Tolomeo would look Is he any different to the man of business who really afflicted, so we wanted no beautifully visits a passportless young girl in Soho, and distressed classicism in his costume or fancies that he cares for her? Elisa’s yearning attitude. We saw him under a shabby pier, for Tolomeo drives her to strange cruelty, to unable to leave the place where the self loathing. What they have in common is wretched of the earth confront a cruel, refuse- that they are ready to dehumanise these who filled sea – unwilling to go inland, unable to frustrate their will, to think of them as beasts in go under. order to torture them, and in so doing of course they only succeed in dehumanising Seleuce is there, though above, out of eyeline. themselves. Her wandering, too, could seem passive – until you realise that she has brought herself to A broken pier in a wooden box – the place this place of meetings, defying Cleopatra, the where land and sea meet, the thorn in the butcher of her sons, that she resists Araspe’s mind – has its own, pastoral beauty. The cardigan, suggesting to Seleuce her lost can, but to wear that simply and lightly, so that unwanted love, resists Elisa’s assasins and powerless are themselves weak. Unbelievably, children; the milky blue that chokes the audience can see and feel freely, making assaults, that she lives to find that which was those who resist the empowered and their Alessandro in the sea, and nearly poisons an experience of their own. That’s what we all lost. On the one had, I was conscious of ideology may prevail. Such serious thoughts Tolomeo, linked to their mother Cleopatra and tried to do, anyway. Egyptian imagery of Isis searching for Osiris. prevailed in preparation and in rehearsal of this to Egypt, and of course to arsenic; the throne But ultimately in her we wanted to find the production, though we hoped to wear them of water; the blue paint that indicates memory, James Conway beauty of the young girl begging at the lightly by the end. We had to be as complex fidelity, and another sense of Egypt. General Director underground exit, always nervously looking as we could psychologically, to help the music behind her for the new oppressor, then looking to tell, and strictly simple in visual language. I guess I find that is the struggle and the eagerly ahead for the little things she collects, Hence the few tiny props, all thrown up by the pleasure with this kind of opera, the music and reminders of something important. We hoped sea: the empty picture frame, to which the drama of which is so spacious: to make each to shock ourselves and our colleagues into little family photo is restored; the tiny knitted moment and each sign mean as densely as it.