Mark’s Score: 5 stars
One of Monteverdi’s three completed operas composed near the end of his life The Return of Ulysses, though dealing with fictional characters, is a piece rich in humanity. Now presented in many opera houses around the world it was until a century ago disputed to be a work by the father of quintessential Baroque opera. Composed in 1639 for the Venice Carnivale it has 25 roles ranging over 3 levels of characterisation : gods and spirits, nobles, servants and followers. Showcasing the talents of their cast Pingut Opera utilises 10 singers in this production. In its day Ulysses was an immediate success due to Monteverdi’s productive collaboration with librettist Giacomo Badoaro (1602-1654) whose dialogue is poetic, philosophical and political. This is an opera that bridges Renaissance masques performed in palaces with the beginnings of grand opera performed in some of the first public opera houses ever constructed.
The Return of Ulysses is a harmonious marriage of text and music with its use of recitative (speech-like music) driving the narrative and Monteverdi’s newly devised technique – the aria (soliloquy or duet/trio in song). Adding to its popularity Claudio Monteverdi (1567-1643) was perhaps attracted to the subject matter – that of one man’s escape from Troy. Throughout Monteverdi’s life Venice and her European allies were in constant battle with The Ottoman Empire – in particular the Ottoman’s blockade of the spice trade occurring during the late 1630s. If Troy represents the Ottomans and the forces of the gods are the supernatural obstacles beyond one’s control then Grecian Ulysses is symbolic of Europe. To further distil the dramaturgy Badoaro Italinates the Greek name forms found in his source material – Homer’s The Odyssey.
For ten years Ulysses had fought The Trojan Wars and when cursed by Neptune for killing the Cyclops he is waylaid another 10 years in returning to his beloved Penelope. With the loss of his crew after his ship is turned to stone, via an intervention from Jove, he eventually returns to his homeland of Ithaca, though advised to disguise himself as an old beggar – further sport by the meddling goddess Minerva. He is tasked to test the virtue of Penelope and to challenge the 3 suitors who pursue her. In Homer’s original she had over 100 gold-diggers during the 20 year estrangement. He being the only one who can fire an arrow from the bow she has cherished over the years the drama concludes with Penelope convinced that this old man is her long lost love and that Ulyssees can rest assured in the knowledge that his wife is the epitome of constancy.
Indeed the opera could be called Penelope as she is a major character in the work. Catherine Carby excels in the role and as a mezzo-soprano explores all its profundity. As a counterpoint, in the prologue she plays Human Fragility lamenting the iniquities of love. As Ulysses Fernando Guimarães, no stranger to the role, pulls out all the stops, his tenor voice emotionally charged. His is a very still performance in an action packed opera. The supporting singers are virtuosic in their assorted roles and the historically informed orchestra of 13 dressed in off-white linens is masterfully led by Erin Helyard.
Mark G Nagle – Theatre Now Sydney
The Return of Ulysses (Il Retorno d’Ulisse in Patria)
Pinchgut Opera, City Recital Hall, Sydney
Music : Claudio Monteverdi, Libretto : Giacomo Badoaro
Sung in Italian – English surtitles/translation © Boston Baroque
The Return of Ulysses
Based on the final chapters of Homer’s timeless poem the Odyssey, Monteverdi’s late masterpiece is an epic yet intimate story of love, constancy and sacrifice.
13 – 19 Jun 2019
Thu 7:00 pm
Sat 2:00 pm
Sun 5:00 pm
Tue 7:00 pm
Wed 7:00 pm
Venue: City Recital Hall
Theatre Company: Pinchgut Opera
Duration: Approximately 3 hours, including interval
After ten years fighting in the Trojan War and ten more years wandering on the seas, Ulysses has finally returned home. But everything has changed during his absence, and instead of a hero’s welcome, Ulysses finds his palace occupied by rival kings keen to seduce his wife Penelope and kill his son. Will he be able to regain his wife and home?
Based on the final chapters of Homer’s timeless poem the Odyssey, Monteverdi’s late masterpiece is an epic yet intimate story of love, constancy and sacrifice.
Fernando Guimarães, last seen in Australia in the Australian Brandenburg Orchestra’s Handel: Heaven and Harmony, stars as Ulysses, a role he has sung to international acclaim. Australian mezzo-soprano Catherine Carby, whose ravishing tone and deeply moving performances have earned her rave reviews around the world, joins him as Penelope.
There will be a talk about the history of the piece 45 minutes before each performance.
Ticket Prices
Standard tickets from $96 – $201
