Review: SAUL at LONDON HANDEL FESTIVAL, Sinfonia Smith Square

As we assembled in the beautiful hall at Sinfonia Smith Square (formerly known as St John's Church) for tonight's performance of Saul, we were told that the ensemble Arcangelo would remain the Principal Ensemble in Residence at the London Handel Festival until 2029.

Saul is one of Handel's greatest works. A dramatic oratorio, it tells the story of Saul and David, Kings of Israel, as related in the Old Testament's First Book of Samuel. It takes place directly after David has slain Goliath and returned as the hero of the people.

In a story of betrayal, love, and jealousy, King Saul welcomes the hero back to court, but eventually plots his death. Too many of the common people revere David, and, already feeling insecure in his reign, Saul descends into madness.

It is an appropriate start to over four weeks of celebration of the composer. Conducted by founder Jonathan Cohen, Arcangelo is a period performance group that concentrates on the Baroque era. Their string sections are completed by harp, lute, and harpsichord in an extremely polished ensemble.

Christopher Purves takes on the role of Saul. A bass-baritone who offers the illusion of effortless singing alongside a believable trajectory of tragedy, he retains a magnetic presence throughout. His duplicity and self-destruction are potent as he views David with a look of pure hatred and busily plots his demise.

As David, counter-tenor Hugh Cutting is no less remarkable. His pure and clear tones illuminate the story of the man of peace and virtue. He does not shirk from battle, but he is not bloodthirsty, tempering the need to conquer with regal mercy. Interestingly, Handel wrote this role with a female contralto in mind, but it has been performed by a range of voices, including mezzo and even castrati.

His deep friendship with Saul's son Jonathan (Dutch tenor Linard Vrielink, who recently played the role at Glyndebourne, and gives a strong performance here without music in hand) and tense relationship with snobbish princess Merab (Hungarian soprano Emőke Baráth, offering a measured reading with fiery undertones) are well-defined. 

Saul is a powerful and moving opera, given solid support by the thirty-strong choir. Smaller parts in the story are played by choir members (bass Hugo Herman-Wilson, tenors Archie Inns and Matthew Long). Their contributions are no less notable than those of principals Jessica Cale (Michal, daughter of Saul), Liam Bonthrone (High Priest), and Neal Davies (the ghost of Samuel),

Cohen's musicians offer a potent reading of Handel's score, with notable recorders, trombones, and cellos. The acoustics in the hall were exceptional, with clear enunciation throughout and a sense of occasion. This was a celebration of Handel that set the tone of the Festival to follow.

Saul has often been compared to King Lear in its story of power, hubris, and disaster. It is possible to sympathise with the character of the great King brought low in both, each alienating three children and struggling with the loss (or potential loss) of power.

In this production, the platonic love between David and Jonathan, as well as the romantic love between David and Michal, is profoundly felt. Running for three hours, including an interval, this oratorio remains absorbing from start to finish, and garnered warm applause and appreciation at the end of the proceedings.