In San Francisco Opera’s dashing production of Handel’s “Partenope,” the heroine is presented not as the Queen of Naples, as she is known in mythology, but as a chic socialite in 1920s Paris.
The 1730 opera is about love and war, but in this production, Partenope’s several suitors (madcap Arsace, shy Armindo and militant Emilio) resemble warriors only slightly, transformed into dandies who court Partenope, the surrealists, and good Champagne.
If it seems an example of wayward direction, Christopher Alden’s 2008 production for English National Opera, first seen here in 2014, is crafted with so much whimsy and inventiveness and the singers are so engaging, everything works out, and Handel’s stirring music soars above it all with brio.
The action revolves around Partenope, and French soprano Julie Fuchs in her U.S. stage debut holds the reins from the first notes of her opening aria beseeching Apollo’s guidance.
With her big, gleaming voice, Fuchs’ Partenope takes charge not only of all her suitors, but at times of the orchestra, buoyantly led by English conductor Christopher Moulds.
Fuchs, draped in shimmering loungewear and jeweled gowns (costumes by Jon Morrell) glides suggestively among her would-be lovers. Countertenors Carlo Vistoli and Nicholas Tamagna as Arsace and Armindo respectively (roles originally written for castrati) match their queen powerfully, with Vistoli’s large, brilliant voice and Tamagna’s restrained, supple sound the more timorous of the two suitors.
Argentine mezzo Daniela Mack is Rosmira, who dresses like a man and enters the scene to retrieve Arsace, who has left her for Partenope. Mack can woo with her earthy tones— Partenope even falls for her—or tear up the stage with vocal rage.
Tenor Alek Shrader’s Emilio, also among the lovelorn, uses a camera (think Man Ray) instead of a sword on the battlefield. With a voice full of standout comic lights and the silent gestures of a clown, he addresses the goings-on around him with utter dismay. Hadleigh Adams provides a sturdy presence as Ormondo, Partenope’s captain of the guards.
Much more than vocal acuity is asked of the singers in the production, which is directed by Roy Rallo. They also must execute breathtaking movement and pratfalls: Armindo sings his first-act aria while hanging off the staircase in Partenope’s Paris apartment (the ravishing sets are by designer Andrew Lieberman). Emilio falls so comically while attempting to close the door to the loo— yes, there is a loo onstage—that the action stops for minutes while the audience recovers.
Though the proceedings can be very confusing, we eventually know everyone through their arias, be they anguished, hopeful or joyous.
Go for Baroque and take in “Partenope.” The world can use more of Handel’s humor, elegance and beauty.
San Francisco Opera’s “Partenope” continues on June 23 (also live-streaming), 7:30 p.m. June 25 and 7:30 p.m. June 28 at the War Memorial Opera House, 301 Van Ness Ave., San Francisco. For tickets ($26-$426; $27.50 for live-stream) call (415) 864-3330 or visit sfopera.com.
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