Review: SEMELE, Starring Hilary Cronin, Opera Holland Park

In the 35 years I've been going to Opera Holland Park, I've never been disappointed by the music, performances and sheer joy of being in the open air with accompanying local sound effects. The odd resident peacock squawking, planes soaring overhead, shouts from children kicking a football and dogs barking almost in time with the musicians all add to the city-meets-country experience.

So, it's good to know that tradition carries on when I'm not let down by Waterperry Opera Festival's take on George Frideric Handel's lesser-known Baroque drama Semele at this very special venue, with wonderful soprano Hilary Cronin in the title role.

Semele's a mortal woman who has the cheek to fall in love with Jupiter, king of the gods, instead of marrying rather wet Prince Athamas (fabulous countertenor Nathan Mercieca). Michael Lafferty's commanding and charismatic Jupiter seduces Semele in his celestial palace and she dreams of immortality.

However, Jupiter's wife Juno (a very strong Sophie Goldrick) is jealous of Semele and plots against her. As Semele's desires grow, tensions heighten in this tragic tale of ambition, rivalry and vanity.

Known as the "bawdy opera", Semele was composed by Handel in just one month in 1743 – quite a departure from Handel's stately Messiah two years earlier.  Originally an oratorio that premiered at Covent Garden in 1744, it managed only four performances. Based on William Congreve's libretto, the piece was deemed controversial due to its secular and provocative subject matter. It didn't help that it was put on during Lent.

Resurrected in the 20th century, Semele appeals to modern audiences with its theme of inappropriate love. Semele tries to rise above her place to hang out with the gods, a bit like a competitor on Love Island attempting to infiltrate the English upper class. It's a lesson in why deceptions are needed to maintain order in society and why Semele should have been satisfied with Jupiter the way he was.

Rebecca Meltzer's pared-down production centres round a large rectangle downstage serving as a table, altar where Semele offers sacrifices to Jupiter who appears in the form of a swooping bird puppet ­­– and in one steamy scene, a bed – along with a few urns on small pedestals.

Set and Costume Designer Jennifer Gregory provides monotone shades for the earthlings' garb, and amusingly bonkers disco-sparkled hippy chic for the gods. Sensuously smeared blue and green paint effectively represents lust and desire.

Conductor and co-founder of Waterperry Bertie Baigent tightly controls his small chamber, eleven-person Waterperry Opera Festival Orchestra in this assured production.

Semele's packed with a number of good tunes, including Cronin's beautiful renditions of "Endless pleasure, endless love" and "O sleep". Her duet with sister Ino (Sarah Winn) is exquisite, backed admirably by the strings section.

The third and most dynamic act brings a standout performance from bass Masimba Ushe as a gratifying Somnus. He also doubles up elsewhere as the High Priest. I hope we see more of Ushe, as he's definitely a rising star.

Cronin's final lament of "Oh help" during a blood-soaked birth scene is heart-rending. But the Holland Park audience departs satisfied after an upbeat conclusion with the chorus singing that we may leave happy "free from care, from sorrow free".

Semele ran on August 21 and 22 at Opera Holland Park.

Photo credits: Jennifer Hawthorn