Handel’s Women Mean Business

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Handel’s Women Mean Business

Posted On : May-12-2010 | seen (583) times | Article Word Count : 475 |

Female operatic characters are so often victims — of murder, consumption, suicide and their own messy emotions. But in Handel’s “Partenope” the women come out on top.

Female operatic characters are so often victims — of murder, consumption, suicide and their own messy emotions. But in Handel’s “Partenope” the women come out on top. Its gender-bending plot and wondrous music are vividly realized in Francisco Negrin’s production, which returned to New York City Opera on Saturday evening.
“Partenope,” which deviates from opera seria norms, is billed as satire or comedy. But genuine pathos still outweighs bathos en route to enlightenment and romantic satisfaction. Directed by Andrew Chown, this staging focuses on the mind games and sexual tension among the five main characters.
The heroines of “Partenope” wear the pants, literally and metaphorically. Sure, Rosmira might seem like a crazy stalker, but she doesn’t mope when jilted by Prince Arsace, her fiancé. She puts on some trousers and goes undercover to win him back. The warring Queen Partenope is even sensible, choosing the steadfast (if timid) Prince Armindo over the handsome (but faithless) Arsace, with whom she is initially smitten. She maturely decides to remain friends with Emilio, her third princely suitor.
There are comic moments, for instance when Arsace and Rosmira (disguised as Prince Eurimene) are about to duel. Arsace demands they fight bare chested, forcing her to reveal either her body or her real identity. (She picks the latter.) But the protagonists’ emotional vulnerability and despair are fully plumbed. The spare, effective contemporary staging is rich with symbolic touches, including fire and a billowing dark cloth that evokes psychic distress.
The three acts unfold in a palace chamber painted with foliage, with Robert Wierzel’s creative lighting contributing to the psychological portraits. The characters are in color-coded modern dress, with Partenope appearing first in a pink suit and heels.
Christian Curnyn, a Baroque opera specialist, made an impressive house debut in the pit, leading a buoyant, tightly wrought and colorful interpretation. The vocal star of the night was Iestyn Davies as the conflicted Arsace. He sang with a luminous, creamy countertenor and offered a moving rendition of “Ch’io parta?” during the Act III scene where he begs Rosmira for forgiveness.
Stephanie Houtzeel, a rich-voiced mezzo, offered a theatrically compelling portrait of the jealous Rosmira. Cyndia Sieden wielded her agile soprano effectively in her upper range as Partenope but was indistinct in her lower register. Both women sometimes sounded tired on Handel’s coloratura treadmill.
Anthony Roth Costanzo, a sweet-voiced countertenor, sang splendidly as Prince Armindo, and the fine tenor Nicholas Coppolo was effective as swaggering Emilio, in black leather and sunglasses. Daniel Mobbs, dressed as a priestly figure, conveyed the sage dignity of Ormonte, the queen’s tutor.
In the final scene an aria for Partenope is replaced in this production with a poignant duet with similar text from Handel’s “Sosarme.” The queen and Armindo celebrate their union, and Arsace and Rosmira are reunited.

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<h1> Handel’s Women Mean Business</h1> Author: <a href='http://www.articleseen.com/profile_zinsser.aspx'>zinsser</a> Female operatic characters are so often victims — of murder, consumption, suicide and their own messy emotions. But in Handel’s “Partenope” the women come out on top. Its gender-bending plot and wondrous music are vividly realized in Francisco Negrin’s production, which returned to New York City Opera on Saturday evening.
“Partenope,” which deviates from opera seria norms, is billed as satire or comedy. But genuine pathos still outweighs bathos en route to enlightenment and romantic satisfaction. Directed by Andrew Chown, this staging focuses on the mind games and sexual tension among the five main characters. 
The heroines of “Partenope” wear the pants, literally and metaphorically. Sure, Rosmira might seem like a crazy stalker, but she doesn’t mope when jilted by Prince Arsace, her fiancé. She puts on some trousers and goes undercover to win him back. The warring Queen Partenope is even sensible, choosing the steadfast (if timid) Prince Armindo over the handsome (but faithless) Arsace, with whom she is initially smitten. She maturely decides to remain friends with Emilio, her third princely suitor. 
There are comic moments, for instance when Arsace and Rosmira (disguised as Prince Eurimene) are about to duel. Arsace demands they fight bare chested, forcing her to reveal either her body or her real identity. (She picks the latter.) But the protagonists’ emotional vulnerability and despair are fully plumbed. The spare, effective contemporary staging is rich with symbolic touches, including fire and a billowing dark cloth that evokes psychic distress. 
The three acts unfold in a palace chamber painted with foliage, with Robert Wierzel’s creative lighting contributing to the psychological portraits. The characters are in color-coded modern dress, with Partenope appearing first in a pink suit and heels. 
Christian Curnyn, a Baroque opera specialist, made an impressive house debut in the pit, leading a buoyant, tightly wrought and colorful interpretation. The vocal star of the night was Iestyn Davies as the conflicted Arsace. He sang with a luminous, creamy countertenor and offered a moving rendition of “Ch’io parta?” during the Act III scene where he begs Rosmira for forgiveness.
Stephanie Houtzeel, a rich-voiced mezzo, offered a theatrically compelling portrait of the jealous Rosmira. Cyndia Sieden wielded her agile soprano effectively in her upper range as Partenope but was indistinct in her lower register. Both women sometimes sounded tired on Handel’s coloratura treadmill. 
Anthony Roth Costanzo, a sweet-voiced countertenor, sang splendidly as Prince Armindo, and the fine tenor Nicholas Coppolo was effective as swaggering Emilio, in black leather and sunglasses. Daniel Mobbs, dressed as a priestly figure, conveyed the sage dignity of Ormonte, the queen’s tutor. 
In the final scene an aria for Partenope is replaced in this production with a poignant duet with similar text from Handel’s “Sosarme.” The queen and Armindo celebrate their union, and Arsace and Rosmira are reunited.

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