{"id":8661,"date":"2025-07-05T07:21:44","date_gmt":"2025-07-05T06:21:44","guid":{"rendered":"http:\/\/www.operapoint.com\/?p=8661"},"modified":"2025-07-08T07:24:29","modified_gmt":"2025-07-08T06:24:29","slug":"semele-royal-opera-house-london-original","status":"publish","type":"post","link":"http:\/\/www.operapoint.com\/?p=8661","title":{"rendered":"Semele – Royal Opera House, London (Original)"},"content":{"rendered":"

by George Frideric Handel (1685-1759), \u2018musical drama\u2019 in three acts, libretto by William Congreve, performing edition by Peter Jones; premiered 10 February 1744 at the Covent Garden Theatre in London<\/p>\n

Director: Oliver Mears, Designer: Annemarie Woods, Lighting designer: Fabiana Piccioli<\/p>\n

Orchestra of the Royal Opera House, Conducted by Christian Curnyn, Movement director: Sarah Fahie<\/p>\n

Soloists: Pretty Yende (Semele), Ben Bliss (Jupiter), Alice Coote (Juno), Brindley Sherratt (Cadmus\/Somnus), Carlo Vistoli (Athamas), Niamh O’Sullivan (Ino), Marianna Hovanisyan (Iris), Lauren Bridle, Sarah Fahie, Bridget Lappin, David Rawlins (Actors), Ayla Tunali-Flynn, Harriet Leddington Wright, Theodora Laxmi Furlong (Children).<\/p>\n

Performance attended: 30 June 2025 (premiere)<\/p><\/blockquote>\n

\"\"<\/a>Summary of the action<\/strong><\/p>\n

Act One<\/em><\/p>\n

Semele, servant in the house of the god Jupiter and his wife Juno, sweeps the hearth of its ashes. Jupiter enters and, seeing Semele, embraces her, while evading the watch of his mistrusting wife. Juno guesses the truth and, as the goddess of marriage, decrees that Semele shall be married to Athamas, another servant in the house, who is desperately in love with Semele. The scene changes to their wedding, where Cadmus, father of Semele, calls on Juno to bless the marriage. Semele, by contrast, calls on Jupiter to save her from this marriage. Her sister, Ino, meanwhile, discloses her secret, unrequited love for Athamas.<\/p>\n

A storm descends and, as the chorus attempt to propitiate Jupiter in his wrath at the proposed marriage, he appears and abducts Semele. Athamas is devastated and, upon Ino\u2019s admission of her feelings for him, makes it clear that he cannot return her love. Semele makes a brief return to the household and reveals that Jupiter has installed her in luxury as his mistress.<\/p>\n

Act Two<\/em><\/p>\n

Iris, assistant and spy for Juno, reveals the foregoing action to the goddess. Enraged and abusive, Juno plots Semele\u2019s demise and determines that a deal with Somnus, or sleep, will rid the goddess of her human rival.
\nThe scene moves to Semele\u2019s palace apartment. Semele reveals to Jupiter, appearing here in human form, that she does not like to be parted from him and her frustration that she is mortal while Jupiter is an eternal god. Jupiter reassures Semele of his faithfulness and tries to distract her from any thoughts of immortal status. He leaves Semele in the company of the palace servants, who attempt to entertain her with material goods. At first, she is enchanted, but quickly dismisses their value and is overcome. Jupiter returns and reveals that he has sent for Ino to keep her sister company. Ino arrives and the sisters are overjoyed by their reunion and the splendour of the palace.<\/p>\n

Act Three<\/em><\/p>\n

Juno and Iris, meanwhile, pay a visit to Somnus. Juno bargains with the god, promising him the nymph Pasithea if he will transform Juno into Ino\u2019s likeness and inspire Jupiter with an incorrigible lust for Semele, that he might agree to any of his lover\u2019s demands. Somnus agrees, while a distraught Pasithea looks on.<\/p>\n

In the palace, Semele is still plagued by doubts and fears about Jupiter and her own, inferior mortal status. Juno enters, disguises herself as Ino, and encourages Semele to withhold herself unless Jupiter appear in his true, godlike form. Juno asserts that this will make Semele also immortal. Jupiter enters and Semele refuses his advances. Her pregnancy is made apparent. Semele makes Jupiter swear to grant her whatever she desires, and he agrees, horrified when she reveals that he must appear to her as a god, without a human form. Semele is adamant that the god must keep his oath, and Jupiter reveals that this demand will result in his mistress\u2019 death. Semele is taken away to give birth to Jupiter\u2019s child.<\/p>\n

Juno is elated by the success of her vengeful schemes. Bacchus is born to Semele, who dies in the horrific birth. Juno and Jupiter present a united front, and it is determined that the anguished Ino and Athamas must marry. Juno carries off the newborn child. A new servant is brought into the household to sweep away Semele\u2019s ashes, watched on by Jupiter.<\/p>\n

Performance<\/strong><\/p>\n

A metal grille takes centre stage in this production. It appears everywhere: on the proscenium wall, at Jupiter\u2019s hearth, on the chimney in Semele\u2019s palace apartment, as the pyre for Semele\u2019s corpse. It suggests entrapment and the inexorability of death, as well as repetition and patterns of behaviour; the serial infidelities of Jupiter, revenges of Juno, and deaths of the mortals who become enmeshed in their spiteful contests people Ovid\u2019s Metamorphoses<\/em>. It ensures that the first and final tableaux of the production are perceived as one and the same: Semele sweeps Jupiter\u2019s hearth and, following her seduction and death, a new housemaid sweeps Semele\u2019s ashes from the hearth while Jupiter intently looks on.<\/p>\n

Semele\u2019s ill-treatment is paralleled by that of Pasithea, the nymph sacrificed to Somnus in Juno\u2019s pursuit of revenge. The match is rendered particularly repugnant by Somnus\u2019 living conditions; in Act Three, Somnus is found asleep in a filthy bathtub in a hovel, crammed with empty drink bottles. Pasithea is silent throughout this scene, though visibly shaking and distraught at the advances of the lustful older god. The silent presence of Pasithea is one addition in this production, the death of Semele in childbirth is another. Restrained by members of Jupiter\u2019s household, and in a garment something akin to a strait jacket, Semele is led away to give birth. Bacchus is born, but his mother bleeds to death. While the link between Semele\u2019s insistence that Jupiter appear to her in his godlike form and her ultimate demise is not immediately clear, the suffering that she faces and her insignificance within the cycles of the gods\u2019 games, lusts, and disputes are fully apparent.<\/p>\n

Singers and Orchestra<\/strong><\/p>\n

The entire company gave a sound performance in this production. The balance was excellent, with a strong bass and often sensuous string sound from the Orchestra of the Royal Opera House<\/strong> that ably supported the singers. Pretty Yende<\/strong> was a fiery, passionate, and vulnerable Semele, and brought to the role a much-needed depth of character. Ben Bliss<\/strong> gave a similarly rounded take on Jupiter, with an alternate gentleness, cruelty, empathy, and callousness that was true to the Roman god\u2019s mythological depiction. Alice Coote<\/strong>\u2019s Juno, by contrast, was wrathful and abusive in the extreme, and a foil to her more feeling husband. The silent obedience of her children, played by Ayla Tunali-Flynn<\/strong>, Harriet Leddington Wright<\/strong>, and Theodora Laxmi Furlong<\/strong>, only intensified the air of terror and threat that enveloped the goddess in Acts Two and Three.<\/p>\n

Marianna Hovanisyan<\/strong> was Juno\u2019s assistant Iris and, vocally, gave for me the stand-out performance in this production with seemingly effortless, virtuosic vocal runs in Act Two. Brindley Sherratt<\/strong> was a comic and repulsive Somnus, while Niamh O’Sullivan<\/strong> was a tortured Ino. Her dramatic partnership with Carlo Vistoli<\/strong> as Athamas was excellent, and their shared grief at the production\u2019s close \u2013 brilliantly expressed by Athamas in an acidic rendering of \u2018Despair no more shall wound me\u2019, aimed at Juno \u2013 was visceral. The Royal Opera Chorus<\/strong> played the part of a quasi-chorus from Greek tragedy to perfection: only moments after Semele\u2019s death, the chorus was eager to move on, assert a conventional hierarchy \u2013 \u2018nature to each allots his proper sphere\u2019 \u2013 and sanctimonious in the final chorus \u2018Happy, happy shall we be\u2019 in its pointed assertion that only \u2018guiltless pleasures we’ll enjoy\u2019.<\/p>\n

Conclusion<\/strong><\/p>\n

This new production of Semele <\/em>is bleak, harrowing, and intensely thought-provoking. What might at first glance seem a rather superficial tale of lust, hubris, and revenge is transformed under Director Oliver Mears<\/strong>\u2019 expert eye into a story of cyclical behaviours, hypocrisy, and ill-treatment. The premiere was met with considerable audience applause.<\/p>\n

Rebecca Severy MPhil BA (Hons)<\/p>\n

PhD Candidate in Music, University of Cambridge<\/p>\n

Photograph: Camilla Greenwell<\/p>\n

Photo: Pretty Yende (Semele), Niamh O’Sullivan (Ino), Alice Coote (Juno)<\/p>\n

Deutsche Version (\u00dcbersetzung)<\/strong><\/span><\/h2>\n

Royal Opera House, London<\/strong><\/p>\n

Semele<\/em><\/p>\n

von George Friedrich H\u00e4ndel (1685\u20131759), musikalisches Drama in drei Akten, Libretto von William Congreve, Auff\u00fchrungsfassung von Peter Jones, UA: 10. Februar 1744 Covent Garden Theatre London<\/p>\n

Regie: Oliver Mears, Designer: Annemarie Woods, Lichtdesign: Fabiana Piccioli, Choreographie: Sarah Fahie<\/p>\n

Dirigent: Christian Curnyn, Orchester des Royal Opera House<\/p>\n

Solisten: Pretty Yende (Semele), Ben Bliss (Jupiter), Alice Coote (Juno), Brindley Sherratt (Cadmus und Somnus), Carlo Vistoli (Athamas), Niamh O’Sullivan (Ino), Marianna Hovanisyan (Iris), Ayla Tunali-Flynn, Harriet Leddington Wright, Theodora Laxmi Furlong (Kinder, Komparsen), u.a.<\/p>\n

Besuchte Auff\u00fchrung: 7. Juni 2025 (Premiere)<\/p><\/blockquote>\n

Kurzinhalt<\/strong><\/p>\n

Erster Akt<\/p>\n

Semele, eine Dienerin im Tempel der Juno, ist die heimliche Geliebte Jupiters. Juno, die G\u00f6ttin der Ehe, verf\u00fcgt, da\u00df sie Athamas heiraten soll, der sie liebt. Semeles Vater Cadmus verlangt auf der Hochzeit von Juno, da\u00df sie ihre Ehe segnen solle, w\u00e4hrend Semele Jupiter darum bittet, sie vor der Eheschlie\u00dfung zu bewahren. Indessen gesteht ihre Schwester Ino ihre unerwiderte Liebe zu Athamas. Ein Sturm zieht auf, und w\u00e4hrend der Chor versucht, Jupiters Zorn \u00fcber die Eheschlie\u00dfung zu bes\u00e4nftigen, erscheint er und entf\u00fchrt Semele. Athamas ist ersch\u00fcttert, und beantwortet Inos Gest\u00e4ndnis ihrer Liebe zu ihm endg\u00fcltig abschl\u00e4gig.<\/p>\n

Zweiter Akt<\/p>\n

Iris, die Junos Botin ist, berichtet Juno davon, da\u00df Semele als Jupiters Geliebte in einem Palast lebt. Die erz\u00fcrnte Juno beschlie\u00dft, ihre menschliche Rivalin zu vernichten und wendet sich dazu an Somnus, den Gott des Schlafes. In Jupiters Palast teilt Semele dem Gott in seiner menschlichen Gestalt mit, wie sehr es sie bek\u00fcmmere, da\u00df sie sterblich und er unsterblich sei. Jupiter beruhigt sie und l\u00e4\u00dft sie in Gesellschaft der Palastdiener zur\u00fcck, die versuchen, sie mit Sch\u00e4tzen und Gaben aufzuheitern, doch ohne Erfolg. Jupiter kehrt zur\u00fcck und bringt Ino mit sich. Die beiden Schwestern erfreuen sich an ihrer Wiedervereinigung.<\/p>\n

Dritter Akt<\/p>\n

Juno und Iris treffen Somnus. Juno bietet ihm an, ihm die Nymphe Pasithea zu geben, wenn er Juno in die Gestalt Inos verwandele und Jupiter mit unbegrenzter Lust nach Semele erf\u00fclle, die ihn dazu bringen solle, alles zu tun, was sie verlange. Somnus willigt ein. Semele wird von Zweifeln an ihrem Schicksal als sterblicher Frau geplagt. Juno in Gestalt Inos erscheint und ermutigt Semele, sich Jupiter so lange zu entziehen, bis er seine menschliche Erscheinung ablege und sich ihr in seiner g\u00f6ttlichen Gestalt zeige. Das, so Juno, w\u00fcrde Semele die Unsterblichkeit verleihen. Jupiter erscheint, und Semele entzieht sich seinen Ann\u00e4herungsversuchen. Sie nimmt ihm den Schwur ab, zu tun, was auch immer sie verlange. Er ist erschreckt von ihrem Wunsch, aber Semele beharrt darauf. Beim Anblick des Gottes verbrennt Semele. Juno und Jupiter bestimmen, da\u00df Athamas und Ino heiraten und der Chor huldigt Bacchus, der Frucht der Verbindung von Semele und Jupiter.<\/p>\n

Auff\u00fchrung<\/strong><\/p>\n

Das B\u00fchnenbild wird von einem Metallgitter bestimmt, das \u00fcberall zu sehen ist: an der Wand des Proszeniums, am Herd Jupiters, dem Schornstein von Semeles Palastwohnung und auf dem Scheiterhaufen f\u00fcr Semeles Leichnam. Es symbolisiert das Eingeschlossensein und die Unerbittlichkeit des Todes, aber auch die starren Verhaltensmuster der Figuren: Jupiters notorische Untreue und Junos Rachsucht wie auch der Tod der Sterblichen, die sich mit den G\u00f6ttern einlassen so wie sie Ovids Metamorphosen<\/em> bev\u00f6lkern. Erstes und letztes Bild zeigen die Wiederholung einer Handlung: In dem einen fegt Semele die Feuerstelle und nach ihrer Verf\u00fchrung und ihrem Tod fegt eine neue Magd ihre Asche fort, w\u00e4hrend Jupiter sie neugierig beobachtet. Semeles schlechter Behandlung wird diejenige der Nymphe Pasithea an die Seite gestellt, die Juno dem Gott Somnus opfert. Somnus lebt in einer armseligen H\u00fctte, in der er in einer dreckigen Badewanne schl\u00e4ft, die mit ausgetrunkenen Flaschen vollgestopft ist. Pasithea, die von einer Komparsin gespielt wird, erschauert vor den Avancen des l\u00fcsternen alten Gottes. Diese stumme Rolle wird in dieser Produktion hinzugef\u00fcgt. Eine weitere \u00c4nderung ist der Tod Semeles bei der Geburt des Bacchus, nachdem sie von den Dienern Jupiters in ein Gewand gesteckt wird, das einer Zwangsjacke \u00e4hnelt. Es ist nicht ganz klar, inwieweit hier die Erscheinung Jupiters in seiner g\u00f6ttlichen Gestalt aufgegriffen werden soll. Was hingegen deutlich wird, ist, wie unbedeutend Semeles Leiden in den wiederkehrenden Kreisl\u00e4ufen der g\u00f6ttlichen Eroberungen, Gel\u00fcste und Konflikte ist.<\/p>\n

S\u00e4nger und Orchester<\/strong><\/p>\n

Das Ensemble als Ganzes pr\u00e4sentierte eine gelungene Auff\u00fchrung in dieser Produktion. Das Orchester des Royal Opera House<\/strong> unterst\u00fctzte mit sinnlichem Streicherklang und vollt\u00f6nendem Ba\u00df gekonnt die S\u00e4nger. Pretty Yende<\/strong> gab eine ungest\u00fcme, leidenschaftliche und verletzliche Semele und verlieh ihrem Charakter die notwendige Tiefe. Ben Bliss<\/strong> gab eine stimmige Interpretation der Rolle des Jupiter, der wie in seiner mythologischen Beschreibung des r\u00f6mischen Gottes zwischen Edelmut und Grausamkeit, zwischen Mitgef\u00fchl und Herzlosigkeit schwankt. Alice Cootes<\/strong> Juno war demgegen\u00fcber durchweg zornig und b\u00f6sartig und kontrastierte so mit ihrem eher einf\u00fchlsamen Gemahl. Der stille Gehorsam ihrer Kinder, gespielt von den Komparsen Ayla Tunali-Flynn<\/strong>, Harriet Leddington Wright<\/strong> und Theodora Laxmi Furlong<\/strong>, vertiefte die Stimmung von Schrecken und Bedrohlichkeit, die die G\u00f6ttin im zweiten und dritten Akt umgab. Marianna Hovanisyan<\/strong> sang Junos Gehilfin Iris und gab die st\u00e4rkste musikalische Leistung in dieser Produktion ab mit ihren scheinbar m\u00fchelos gesungenen, virtuosen L\u00e4ufen im zweiten Akt. Brindley Sherratts<\/strong> Somnus war komisch und absto\u00dfend zugleich, Niamh O’Sullivans <\/strong>Ino ein geplagter Charakter. Ihr dramatisches Zusammenspiel mit Carlo Vistoli<\/strong> als Athamas war ausgezweichnet. Das geteilte Leid der beiden am Ende der Handlung brachte Vistoli brillant mit seinem \u00e4tzendem Vortrag von dem gegen Juno gerichteten \u201eDespair no more shall wound me\u201c (\u201eVerzweiflung soll mich nicht mehr verletzen\u201c) zum Ausdruck. Der Chor der Royal Opera<\/strong> spielte wie ein Chor in der griechischen Trag\u00f6die: Kurz nach Semeles Tod dr\u00e4ngt es ihn weiter zur Best\u00e4tigung der hierarchischen Konvention \u2013 \u201enature to each allots his proper sphere\u201c (\u201eEinem jeden weist die Natur seinen rechten Platz zu\u201c) \u2013 und dem scheinheiligen Schlu\u00dfchor \u201eHappy, happy shall we be\u201c (\u201eWir sollen gl\u00fcckselig sein\u201c) mit der spitzen Bemerkung, da\u00df es doch nur um \u201eguiltless pleasures we’ll enjoy\u201d (\u201eunschuldige Freuden, die wir genie\u00dfen werden\u201c) gehe.<\/p>\n

Fazit<\/strong><\/p>\n

Diese neue Produktion der Semele<\/em> ist d\u00fcster, schauerlich und regt stark zum Nachdenken an. Was auf den ersten Blick als ein schlichtes M\u00e4rchen von Lust, Hybris und Rache erscheinen mag, wird in der Interpretation des Regisseurs Oliver Mears<\/strong> in eine Geschichte von sich st\u00e4ndig wiederholenden Verhaltensmustern, Heuchelei und Mi\u00dfhandlung umgedeutet. Das Premierenpublikum applaudierte mit Nachdruck.<\/p>\n

Rebecca Severy MPhil BA (Hons)<\/p>\n

PhD Candidate in Music, University of Cambridge<\/p>\n

\u00dcbersetzung Dr. Martin Knust<\/p>\n

Bild: Camilla Greenwell<\/p>\n

Das Bild zeigt: Pretty Yende (Semele), Niamh O’Sullivan (Ino), Alice Coote (Juno)<\/p>\n","protected":false},"excerpt":{"rendered":"

by George Frideric Handel (1685-1759), \u2018musical drama\u2019 in three acts, libretto by William Congreve, performing edition by Peter Jones; premiered 10 February 1744 at the Covent Garden Theatre in London Director: Oliver Mears, Designer: Annemarie Woods, Lighting designer: Fabiana Piccioli…<\/span><\/p>\n

Weiterlesen \u203a<\/a><\/div>\n

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