Early Music Advance Access originally published online on April 10, 2006
Early Music 2006 34(2):277-288; doi:10.1093/em/cal005
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Staging a Handel opera
Andrew Jones is a University Senior Lecturer in Music at Cambridge, and Director of Studies in Music, Director of Music, and Fellow of Selwyn College. He founded the Cambridge Handel Opera Group in 1985, and has so far translated, edited and conducted 11 of Handel's operas; the next production will take place in early May 2007. His edition of Rodelinda for the Hallische Händel-Ausgabe has been used for performances in international opera houses throughout the world. avj1000{at}cam.ac.uk
Most productions of Handel's operas today observe principles of 18th-century performance practice in the musical aspects of the performance. It is very rare, however, to see a production whose visual aspects also are historically informed: far more commonly the opera is updated, and the producer's chief concern is to present his concept of its meaning. For Handel, a true man of the theatre, an opera was what the audience saw as well as what it heard. Respecting the composer's intentions and expectations in the musical performance but ignoring them in the visual production runs the risk of creating a sense of artistic schizophrenia. Although guidance in the scores themselves is sparse, there is much evidence of a general kind about 18th-century sets, costumes and acting styles that can be used by producers who are willing to experiment. Acting in a period style can be as liberating as singing and playing in such a style; modern audiences are just as ready to accept the former as the latter. An 18th-century acting style, with its emphasis on restraint, elegance and beauty, is perfectly in tune with the style of Handel's music; within such a style the smallest deviation can achieve a powerful effect. A modern audience need not be condescended to: it can quickly become accustomed to an earlier style of acting. Still less does Handel need assistance: his music has the power to speak eloquently across the centuries.
Key Words: acting styles • Baroque opera • Cambridge Handel Opera Group • Handel • operatic production • performance practice