HANDEL’S ‘SEMELE’ GIVEN CONTEMPORARY MAKEOVER IN WESTMINSTER’S PRODUCTION

Besides being a remarkable composer and one of the pillars of the baroque, George Frideric Handel was also an astute businessman who liked making money and knew how to make a lot of it. And sometimes his love of money got the better of him and clouded his judgment.

That is certainly what happened with Semele, Handel’s 1743 opera that he unabashedly called an oratorio in order to ensure its performance in London the following year. The premiere did take place in 1744 during Lent, when there were no opera performances allowed. And even though Semele has elements from oratorio – the libretto is in English, for example, and there is a modestly large choral part – the story’s subject matter revolves around the sexual escapades of Jupiter and other characters from Greek mythology rather than drawing on an edifying story from the Bible, as audiences from the time would have expected from an oratorio by Handel.

“Handel marketed it as an oratorio during the Lenten season to guarantee an audience,” said Michael Chipman, director of the opera program at Westminster College. “But the audience didn’t get the spiritual uplift they were expecting, and it failed.”

Not only did it fail, it failed big. It was neglected for the rest of the 18th century and through the following century as well. It wasn’t until well into the 20th century that Semele found new life and a home at many opera houses in the United States and Europe. (Incidentally, the University of Utah’s Robert Breault has sung the role of Jupiter twice, once at the New York City Opera in 2006 and once at Milwaukee’s Florentine Opera three years later.)

Semele has become a staple now because it’s appealing to opera companies and audiences alike,” Chipman said. “One reason is that the music is spectacular. Handel writes unforgettable melodies. The music is dramatic and treated operatically. And the choruses are off the charts.

“Another reason is that the story, taken from Greek mythology, contains elements of human relationships. People connect with that today.

“And finally, the opera is in English.”

From left: Christy Peterson as Semele; Alexander Blankers as Jupiter; Asha Crandall as Juno. (Photo Credit: Nick Metos)

This weekend, the Westminster Opera Studio will present Semele in what ostensibly will be the first performance of the opera in Utah. However, rather than placing it in a mythological setting, Chipman took a radically new approach to the work. He updated it to the American South and gave it a vampire makeover.

According to Chipman, the story lends itself to that type of treatment. “It doesn’t shy away from its sensuality, for one thing. And the myth of Jupiter and Semele can be seen as a vampire story.”

It was one particular moment in the libretto that got Chipman thinking about doing the opera as a vampire story. It’s when Jupiter tells Semele that when her sister comes to visit, Jupiter will be invisible to her. “That was the first trigger. It showed me that Jupiter has vampire qualities.”

There was another element in the Greek myth that helped solidify Chipman’s vision. “One of the ways a vampire dies is by being exposed to the rays of the sun,” he said. “In the myth, Semele is burned to death by being tricked into seeing Jupiter in his god-like glory. In our version, Semele makes Jupiter swear that he will turn her into a vampire. And when she comes out of her coffin she is destroyed by the sunlight.”

Chipman hopes that the production will appeal to young people who have grown up watching True Blood and The Vampire Diaries. “Our staging makes it accessible to them and lets them experience opera in a way they might not have thought possible. I hope they connect with it.”

Chipman added that the singers have fully embraced his concept. “I’m so proud of them.” Since the opera program at Westminster is still small, Chipman has to be careful what he chooses. “We have a terrific cast for Semele.” Noting that the music isn’t easy to sing Chipman said that, “We have the voices to do it. They have the vocal quality and the technical prowess to do this music.”

The role of Semele is particularly demanding, Chipman said. “It’s a real tour de force for the singer. She sings aria after aria that are filled with florid passages. Christy Peterson, who I’ve worked with for four years, is doing a remarkable job. I’m proud of what she’s accomplished.”

Chipman said that he’s made substantial cuts to the score, although it still clocks in at 2 ½ hours. “Even though I’ve left out so much, I’ve kept all the essentials.”

Accompanying the singers will be an ensemble consisting of a string quartet and harpsichord (Gerald Elias and Leslie Henrie, violins; Katie Bradford, viola; Cassie Olsen, cello; and Emily Williams, harpsichord), and also timpani. Eric Schmidt, a graduate student at the University of Utah, will conduct. They’re using Schmidt’s own reorchestration of the score. “He transcribed it for string quartet from the full score,” Chipman said. “It’s amazing what he’s done. It’s quintessential Handel.”

  • PERFORMANCE DETAILS
  • What: Westminster Opera Studio, Handel’s Semele
  • Venue: Vieve Gore Concert Hall, Westminster College
  • Time and Date: 7:30 p.m. Jan. 23-24
  • Tickets: $5 general admission, Westminster staff/faculty/students receive one free ticket
  • Phone: 801-832-2457
  • Web: www.ezticketlive.com/checkout/eventbdate.asp?id=21
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About Edward Reichel

Edward Reichel, author, writer and composer, has been covering the classical music scene in Utah since 1997. For many years he served as the primary music critic for the Deseret News. He has also written for a number of publications, including Chamber Music Magazine, OPERA Magazine, 15 Bytes, Park City Magazine and Salt Lake Magazine. He holds a Ph.D. in composition from the University of California at Santa Barbara. He can be reached at ed.reichel@gmail.com. Reichel Recommends is also on Twitter @ReichelArts.

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