Handel's Faramondo in Göttingen, Germany
16 June 2014, Göttingen, Germany
Bold and quirky: Christopher Lowrey and Emily Fons in 'Faramondo'(Photo: Alciro Theodoro Da Silva)
Review by Adrian Horsewood
There’s no shortage of confusion in Handel’s operas, but Faramondo has a strong claim to being the most complex; indeed, the plot makes so little sense that the programme helpfully included a diagram of the relationships between the characters.
Faramondo has killed the supposed son of Gustavo but loves Gustavo’s daughter Rosimonda; Gustavo’s son Adolfo is betrothed to Faramondo’s sister Clotilde but Gustavo has designs on her himself. Finally, Teobaldo (who swapped his infant son for Gustavo’s, thus holding the key to the opera’s eventual happy ending) connives with Gernando to try to win for the latter both Gustavo’s kingdom and the hand of Rosimonda.
That this chaos quickly receded into the background in Göttingen was due both to the unwavering ambitions of each character and to director Paul Curran’s bold production: the members of Gustavo’s clan became glitzy casino denizens, while the two other families were portrayed as sparring gangs. The ingenious use of a small number of pieces of set (the work of Gary McCann) gave each faction its own strong look and ‘home’ environment. However, employing such broad brush-strokes meant that the characters’ quirky traits – Clotilde munching on takeaway pizza, or Gernando’s fetishistic sniffing of stolen pairs of Rosimonda’s underwear – mostly seemed unconvincing directorial attempts to inject colour into Handel’s fairly one-dimensional characters.
The music was wholly impressive, with stand-out performances from mezzo-soprano Emily Fons in the title role and from soprano Anna Devin as Clotilde: the former not only dominated the stage with every movement and gesture (not easy when weighed down by bullet-proof armour), but also movingly delivered the role’s tender and heroic moments; Devin’s coloratura and vocal heft were nothing short of spectacular throughout, the role giving her much to get her teeth into (beside the aforementioned pizza). The two very different countertenor roles were sung with dazzling skill by Maarten Engeltjes (Adolfo) and Christopher Lowrey (Gernando), while mezzo-soprano Anna Starushkevych showed both the outward affection and the inner steel that combine in the character of Rosimonda. Bass Njål Sparbo was the only vocal disappointment as he rasped and snarled his way through the evening, indicating perhaps the constant frustrations and disappointments that Gustavo has to endure, but depriving us of any extended singing.
The FestspielOrchester Göttingen and conductor Laurence Cummings handled the fireworks of the score with aplomb while also creating numerous moments of crystalline beauty; any drama, however complex, would become completely comprehensible if afforded the dedication of such ardent advocates as in Göttingen.