Customer Reviews

Xerxes [VHS]

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Orchestra and chorus of English National Opera conducted by Charles Mackerras. Production by Nicholas Hytner at the London Coliseum 1988.

Xerxes: Ann Murray, Romilda: Valerie Masterson, Arsemenes: Christopher Robson, Amastris: Jean Rigby, Atalanta: Lesley Garrett, Elviro: Christopher Booth-Jones, Ariodates: Rodney Macann

Among increasing revivals of Handel's long neglected stage works, 'Xerxes' (also known as 'Serse') may be among the most popular. One of the last of his three dozen or so operas, it was first performed at the King's Theatre, Haymarket, London, in 1738. This particular video version was performed by the English National Opera (ENO) in 1988, and won the coveted Laurence Olivier Opera Award. It is sung in English, even though this was originally one of Handel's Italian operas.

The plot, such as it is, involves a tangle of intrigues surrounding a one-note drama. King Xerxes is obsessed with his brother's betrothed, Romilda, and she wants nothing to do with him. The King banishes his brother, Arsemenes just as Xerxes's real fiancé, Amastris shows up disguised as a man. Arsemenes (a counter tenor) doesn't stay banished. After one scene, he is back on stage singing woeful arias about his brother and his (supposedly) false beloved. Amastris, the King's real fiancé mopes about and tries to stab herself, but is saved by Arsemenes's servant, Elviro (the opera's comic bass). After three hours of Xerxes' unremitting attempts to steal Romilda's heart, the King gives it up as a bad cause, and is quickly forgiven by his betrothed, Amastris. Everyone lives happily ever after except for Atalanta, Romilda's scheming sister, who is in love with Arsemenes herself.

I almost forgot to mention that, at the very beginning of the opera, Xerxes falls in love with a tree and sings the famous "Ombra mai fu..." (Handel's Largo) which becomes "Under thy shade..." in this English translation.

Forget the plot, listen to the music and enjoy the staging.

Incidentally, if you'd like to know everything there is to know about how this particular production of 'Xerxes' was developed and staged, read "Backstage at the Opera" by Sarah Lenton. She has recorded every step in this show's development, from the casting to the final curtain call.

David Fielding's staging of 'Xerxes' transports the action to the Vauxhall Gardens of Handel's time where courtiers in grey and white (including their faces) form part of the scenery against which the plot unfolds. The chorus has a few songs, but mainly they're background.

The English National Opera is a repertory company, which means its performers are accustomed to working together. The result is exceptionally good acting, without any one voice standing out over the others (unlike most Metropolitan Opera productions where individual voices stand out and the acting is um, basic). The fioratura (flowery singing) by all principals scintillates throughout (although I did have to accustom myself to the counter tenor).

A vibration at the top of the video screen is an annoying presence in some of the scenes, but this is a small price to pay for such beautiful music.

The opera is excellent but quality of product made by kultur is not good.