BWW Reviews: Hail Caesar! Metropolitan Opera's New GIULIO CESARE Is Victorious

The groans were audible--no, powerful--when the Metropolitan Opera's General Manager Peter Gelb stepped out in front of the curtain on the second night of the company's new David McVicar production of Handel's GIULIO CESARE. They grew even louder as he announced that soprano Natalie Dessay was ill and would not be singing the pivotal role of Cleopatra. But I'd bet that these same operagoers were cheering along with the majority of the audience at the sensational portrayal of the replacement, soprano Danielle de Niese, whose brilliant coloratura took the runs, roulades and trills of this demanding score with ease.

As Cleopatra, de Niese was not exactly new to this charming and entertaining production. She was in the premiere of the original 2005 staging at Glyndebourne in the UK, which is less than one-third the size of the Met, but she has the voice and size to fill the larger house properly. (She also sang the role in the last revival of the Met's previous production.) The production also demands that she dance, prance and show the full range of emotions. This is the role that made Beverly Sills a star in the late '60s, stealing the spotlight from what was supposed to be a breakthrough for her co-star Norman Treigle, a bass-baritone, in the title role, at New York City Opera. And you can see why--when placed in the hands of the right artist the role is a knockout. Like Sills, de Niese certainly fit the bill.

When the Met finally mounted a production of its own for the first time in 1988, the title role went to a mezzo, Tatiana Troyanos. These days, the role of Giulio Cesare is generally transformed back to Handel's original intent, with the casting of countertenors (the vocal descendants of the original castrati). Here, the fearless David Daniels led the charge. While I must admit it took until the middle of Act II for me to warm up to his distinctive sound, I finally gave in and was captive to his bravado performance and soaring lines.

The opera's concept has been wonderfully adapted to fill the Met's vast stage, under the caring baton of Harry Bicket, who drew an authentic period sound from the orchestra. With imaginative scenic design by Robert Jones, amusing costumes by Brigitte Reiffenstuel, appropriate lighting by Paule Constable and very lively choreography by Andrew George, every aspect of this staging is entertaining.

Director McVicar has woven in elements of Bollywood, the Roaring '20s, Victorian England and Julius Ceasar's Rome, to great effect. The director has brought out the best in the performers, for instance, showing nuances in the growth of Cleopatra from ingénue to queen; in her brother Tolomeo as both comic relief and villain; and Sesto, who grows from callow youth to maturity in a short time.

Actually, Daniels is one of three countertenors in the outstanding cast that the Met has assembled. Christopher Dumaux sings Cleopatra's brother, Tolomeo (Ptolomy), comfortable with both vocal and physical gymnastics, while Rachid Ben Abdeslam impressed as Nirenus, servant and confidant to both Cleopatra and Tolomeo. Mezzo Patrica Bardon was moving as Cornelia, the widow of Pompey, a military and political leader, with plush tone and dramatic presentation filling the stage. Mezzo Alice Coote, in the pants role of Sesto (Sextus), Pompey's son, gave another star performance, fully convincing and extremely effective in perhaps the opera's most dramatic role. Last but certainly not least, baritone Guido Loconsolo made a notable Met debut, as Achillas, a lusty general and power-hungry advisor to Tolomeo.

While I wouldn't say that the four-and-a-half hours flew by--in many ways, the work is as demanding of the audience as of the singers--it was a pleasure for the eyes as well as the ears. For those opera-lovers who can't get to the Met, the production will be broadcast "Live in HD" on April 27 at noon. It's well worth catching. Future Met performances will be on April 19, 22, 27 and 30, and May 3, 7 and 10.

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