Tim Mead as Richard the Lionheart in Opera Theatre of Saint Louis’s 2015 production of "Richard the Lionheart." Photograph by Ken Howard
Through sheer beauty, subtlety and light humor, Opera Theatre St. Louis’ performance of Handel’s Richard the Lionheart should certainly hold audiences spellbound. Sunday night was the American premiere of Handel’s musical treasure—Ricardo Primo debuted in 1727 at the King’s Theater London—and I wondered why such a lovely piece had been kept from us for so long.
Nearing the end of the 12th century, Richard has embarked on his third crusade. The lighting and set-design, from shipwreck to what felt like a live battleground, were perfect. Tim Mead, a wonderful countertenor, plays Richard with effectiveness and grace. Mead is paired throughout the opera with Suzanna Biller, who plays Costanza, a Spanish princess, in this case a castaway who is separated from her king and bridegroom. The second act in particular finds Mead and Biller singing together, confessing their undying love and charming this operagoer out of his seat.
Brandon Cedel plays Isacio, the king of Cyprus who captures Costanza and in turn is driven nearly mad by her beauty. Cedel performs his menacing role extremely well. His bass-baritone is at once frightening and beautiful.
Isacio’s daughter, Pulcheria, is played by soprano Devon Guthrie; she was a favorite of mine, a joy to hear and see. Guthrie plays her role—at times a filially pious daughter, later a rebel against Isacio’s lust for power and pleasure—and the scenes between Costanza and Pulcheria are truly charming and full of pathos and beauty.
Countertenor Tai Oney plays Pulcheria’s fiancé, who looks upon the captive Costanza and is moved, though briefly, by her beauty. Oronte’s “scandalous eye” nearly ruins his initial plan to marry Pulcheria, who is driven to a furor of rage and jealousy. Tai Oney’s arias and abilities as an athletic stage performer certainly will garner him the praise he deserves.
Handel’s musical themes in Richard the Lionheart are simple enough to catch even the hardest of hearts. Indeed, many of the arias within this opera work through long repetition of a line. That repetition is one of the aspects of OTSL’s collective performance that I most responded to. Though a good deal of the opera takes place through the lenses of the imprisoned and the war-torn, I found the simplicity of the libretto and musical arrangements to be a comfort. The juxtaposition between loss and beauty here is exquisite.
Like the novels of Sir Walter Scott—I got to read Ivanhoe as a kid—Handel’s themes of manliness and virtue are musically told, and I have to say, felt. What resonated most for me was being put back into a time, supposedly barbaric and superstitious, that was transformed into a musical landscape of beauty and action. Through the voices of Richard, Costanza, et al, I was also brought back to the possibility that love is something to be defended and fought for. This is a perennial theme in life. Richard the Lionheart is a great reminder of this, and an absolute pleasure to hear and behold.
Richard the Lionheart runs though June 28 at the Loretto-Hilton Center (130 Edgar). Tickets are $25–$129, and can be purchased online, or by calling the box office at 314-961-0171. For more information about Opera Theatre of St. Louis, visit opera-stl.org.
