Review: SAUL, Glyndebourne Festival

Just how much fun can you have at an oratorio about a Old Testament tale of jealousy, madness and death? Well, quite a lot as it happens at the return of Barry Kosky's remarkable production of Handel's Saul. This staging is opera at its most theatrical, with giant heads, a breast-feeding witch, a gay subplot and more twerking than a Beyoncé concert.

Saul tells the story of the first king of Israel, whose jealousy of the young warrior David following his triumphant return after defeating Goliath leads to his downfall and madness. David's rise in popularity drives Saul to attempt to kill David and command his son Jonathan to do the same, leading to several more severed heads and a tragic end.

Christopher Purves returns to the titular role after the 2018 revival. He gives a remarkably physical performance, conveying the character's descent into madness with every sinew.  He brings power and commanding presence with his voice. Iestyn Davies also returns as David; his melifluous tone is also mesmerising, bringing calmess and order to the stage as the measured warrior.

Making her Glyndebourne debut, Sarah Brady brings capricious coloratura to Merab and Soraya Mafi as a delight as Michal, squealing in delight when he father announces she is to marry David. Linard Vrielink, also making his debut, is a sensitive and able Jonathan, although he could push through more with his voice at points.

In Saul, the chorus is the star and in this revival The Glyndebourne Chorus throw the kitchen sink at their performance, both in acting and singing. Acting as a Greek Chorus, they bring interest and intrigue to every scene, embracing the excess and employing huge voice to Handel's score. Along with Liam Bonthrone's excellent narrator/Fool, the pace is handled perfectly, with just enough time given to both the rousing moments and the bleak silences.

Katrin Lea Tag's design is sumptuous, giving the audience so much to enjoy. A huge stage rake sets up Saul's court as it is revealed as a majestic Bacchanalian feast, with huge trestle tables piled high with flowers, ferns and slain animals-yes that is a bear's head next to the peacock. This riot of colour and texture dissolves into blackness, illuminated by hundreds of candles in the second half, which are collected to leave behind the dystopian, barren landscape of war where Joachim Klein's creative lighting design really comes into its own.

Revival choreographer Merry Holden takes Otto Pichler’s original choreography and embraces what can look chaotic, but is of pin-point accuracy. A group of six lithe dancers bring interest and modernity to each scene they are in.

Jonathan Cohen conducts the Orchestra of the Age of Enlightenment with aplomb, giving  huge momentum to the score and deftly balancing solemnity with moments of light relief.

For some, the production may come off as too gimmicky and it's certainly a revival that will have Handel purists up in arms. However, Donna Stirrup's revival direction is compelling, camp and creative enough to persuade the most ardent nay-sayer that Handel's oratorios can, in fact, create a staged masterpiece.

Saul is at Glyndebourne until 24 July

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