Claudio Monteverdi: Il ritorno d’Ulisse in Patria, Drottningholms Slottsteater, Sweden, 30 July 2008

The production of Ulisse at Drottningholm was directed by Johanna Garpe, until recently the Swedish Counsellor for Cultural Affairs in London. Her pre-performance press release filled one with foreboding in stating :’One can compare the situation with the inhabitants of Kensington nowadays’ – a piece of nonsense of which there is fortunately no reflection in the production, except perhaps in guiding the uncomfortable reunion between Telemaco and his long absent dad. Instead what we get is an outstanding interpretation of the opera, totally faithful to the spirit of Monteverdi, musically and vocally; there was none of the directorial innovation which marred the Glyndebourne experience. The staging fully exploits the original machinery of this theatre, dating from 1766; although the costumes of the orchestra are nowadays modern for comfort and convenience, no such concessions are made to the audience who must continue to endure the baroque hard benches and extreme high temperature of the auditorium (cushions and back rests are not allowed). On this occasion it was well worth it! The musical direction is under the inspired control of Mark Tatlow. The orchestra, limited by space to fourteen players on authentic instruments, provides a sensitive accompaniment throughout though only suggesting the full richness of sound implicit in Monteverdi’s music, being rather dominated by the multi-keyboard continuo.

The main feature of this production is the clear delineation of character, distinguishing by costume and performance the serious and the comic, the human and the divine. Everything is just right – the dignity and caution of Penelope (Ann Hallenberg), the frustration of the young lovers (Tuve Semmingsen and Fredrik Strid), the right mixture of menace and buffoonery from the three suitors, a feisty Minerva (Susanne Rydén) clad in a shiny silver trouser suit directing the affairs of men. Special mention must be made of Anders J Dahlin as Telemaco (previously heard here as Rameau’s Zoroastre in 2005) whose voice brought an immediate tingle. A major problem in directing this opera is to strike the right balance between realism and symbolism in arming the bow and slaying the suitors: here it was a little awkward. But this was a minor blemish on a gem of a production to be treasured along with Tamerlano and Zoroastre seen here on previous occasions. Lovers of baroque opera have to make every effort to get to Drottningholm for productions like these while still able to endure the conditions.