L’Olimpiade – Pavilion Theatre – Review
by G. O’Byrne

Review of Vivaldi’s L’Olimpiade – Sun 5th May, 7.30pm Pavilion Theatre, Dun Laoghaire, Dublin

Most people know the Baroque composer Antonio Vivaldi (born Venice 4th March 1678 – died Vienna 28 July 1741) through his Four Seasons violin concerto. Almost forgotten for 200 years Louis Kaufman’s ground-breaking recording of The Four Seasons at New York City’s Carnegie Hall in 1947 brought it to a new audience as did Nigel Kennedy’s 1989 recording with the English Chamber Orchestra. However, the fact that Vivaldi’s prodigious output included some 46 operas is less well known. His opera L’Olimpiade premiered in Venice at the Teatro Sant’Angelo on 17 February 1734 using an Italian libretto originally written by Pietro Metastasio in 1733.

This is an international touring co-production by Irish National Opera with the Royal Opera House, London and Nouvel Opéra Fribourg in partnership with the Irish Baroque Orchestra. Having opened in the Siamsa Tire Theatre in Tralee on the 20th of April last, it is now touring around Ireland, after which it will travel to London and then to Fribourg, Switzerland, with a concert performance in Sicily in October.

As the name suggests, this opera is set in ancient Greece. Like many a baroque plot, the story is delightfully convoluted and would remind one of a Latin Telenovela soap opera! The action occurs near Olympia, where the Games are about to take place. King Clistene, overseeing the Games, has declared that his daughter, Aristea, will be married to the champion. Licida (long lost son of the king), forgetting his love for Argene, has fallen for Aristea, and summons his friend Megacle (secretly in love with Aristea) to impersonate him at the Games. What could possibly go wrong?

Under director Daisy Evans and her team, the staging echoes the ancient Greek locale with a revolving amphitheatre-style set allowing great flexibility and mobility for the performers. The lighting was very effective and dynamic, and the use of colour ensured that there was nothing static about the staging. Though set in ancient Greece, the costumes were in the style of Vivaldi’s time. With a base of early 20th-century athletic clothing, the performers robed and disrobed into baroque-inspired top layers. Oversized sunflowers followed the sun and blended with the terracotta backdrop. A lit moving ring overhead echoed the Olympic rings of the modern era. The athletic poses depicting the actual athletic contests were delightful.

Sarah Richmond in Irish National Opera’s L’Olimpiade

The score was performed by the Olivier Award-winning Irish Baroque Orchestra under its Artistic Director Peter Whelan. The venue was perhaps unavoidably a little acoustically harsh on the instrumental sound but it was a treat to hear Vivaldi’s baroque score in the authentic style and instruments of the 18th century and it brought an intimacy to the proceedings not often felt in great opera houses.

Matching this sense of intimacy is the seven-strong cast.  Chinese Meile Li plays the role of Prince Licida and his countertenor voice brought a distinctive quality to the production. Soprano Rachel Redmond played an expressive Aminta and her coloratura aria at the end of the first half was a delight. The role of Megacle was played with gusto by Irish Gemma Ní Bhriain who gave it her all.  Mezzo-soprano Sarah Richmond sensitively played the long-suffering Argene. Mezzo-soprano Alexandra Urquiola played a lyrically emotional Princess Aristea. South African baritone Chuma Sijeqa played King Clistene with both formality and sensitivity. Finally, Irish baritone Seán Boylan as Alcandro gave a rich performance of his part. This production has excellent vocal and instrumental values. You can find the full dates and times for this touring production on the Irish National Opera website here.

Cast
Gemma Ní Bhriain – Megacle
Meili Li – Licida
Alexandra Urquiola – Aristea
Sarah Richmond – Argene
Chuma Sijeqa – Clistene
Rachel Redmond – Aminta
Seán Boylan – Alcandro
Irish Baroque Orchestra

Creative Team
Peter Whelan – Conductor
Daisy Evans – Director
Molly O’Cathain – Set & Costume Designer
Jake Wiltshire – Lighting Designer
Matthew Forbes – Movement Director
Christian Hey – Assistant Director
Oliver-John Ruthven – Répétiteur & Assistant Conductor