Like an episode of “Death on the Nile”, (in Monte-Carlo’s guest production at Vienna State Opera), Gio Forma’s sets use a Mediterranean cruise-liner as a backdrop. Opening, they get on board, socialites, some in tight swimsuits, the elderly man in white suit and boater; the dress is ‘Edwardian’, while the Egyptian escorts wear red fez hats. (‘Long live our Alcibades! Every shore smiles for him!’ they sing.)

Caesar (Cesare), counter-tenor Carlo Vistoli, sings ‘ Now every Egyptian land grant its palms to the victor!’ His countertenor (originally a castrato role), sounds slightly incongruous for the mighty Commander. Shakespeare’s Julius Caesar ‘bestride(s) the narrow world like a Colossus.’ But Vistoli’s technique is dazzling, his stage presence formidable. So get used to it! The Roman ruler, he’s come to quash any plots, warns Curio (Luca Vianello).

Cornelia, the slain Pompey’s widow, (alto Sara Mingardo), sings ‘Put an end to warfare! The virtue of a great ruler is forgiveness of offences.’ But General Achilla, (bass Peter Kalman), arrives carrying the head of Pompey. It’s meant as a gesture of friendliness to Caesar, ‘so that the people will love you.’ But this barbarity is misconstrued! Cornelia faints, Caesar suggests an urn (to convey Pompey.) Caesar, horrified by this (oriental) barbarism, ‘I will say that you are wicked! Out of my sight! You are cruelty.’ Cornelia sings, ‘bereft of any comfort, no hope of dying happy’. Mingardo, wearing a black shroud, is consumed with pain and suffering.
Her son Sextus, countertenor Kangmin Justin Kim, blonde, in a white suit, stirs himself to bitter vengeance. As if spooked by his father’s ghost- ‘there’s a shadow behind him’- expecting action.

We see Cleopatra in her apartment-hearing of Pompey’s death- seeking Caesar as an ally against brother Tolomeo (Ptolemy). ‘Faithful to me with courage’, Bartoli’s Cleopatra in teal-blue, is wearing a gold skirt, swishing a feather stole, and louchely holding a long cigarette holder. “Do not despair. Not lacking sovereignty, you will be in love.’ Bartoli, mezzo-soprano, is not only in good voice, but she virtually bounces off stage, leading her two ladies-in-waiting.

Achilla proposes to Ptolemy (Max-Emanuel Cencic), he will kill Caesar for Cornelia, ‘Once mighty Caesar, your haughty head will be sorry.’ As Ptolemy (Tolomeo), Cencic a sensational tenor, has physical presence, but also emotional depth, his lyrical outpouring beautiful.
Caesar muses on Pompey’s ashes, Viscoli’s aria a profound soliloquy on power. ‘Your trophies a shadow! Wretched life, followed by death. (Shades of Macbeth’s ‘This mortal life.’) Eerie wind soloists for the scene changes, Handel’s musical theatre is given another dimension by the Musicians of the Prince of Monaco on original instruments, (director Gianluca Capuana).

Curio announces Lydia (Cleopatra disguised as her servant), who asks for Caesar’s help against Ptolemy. Caesar is overwhelmed by her beauty. ‘Let him think he can have Egypt, without a degree of danger!’ Bartoli’s aria is accompanied by a brightly-timbred horn solo. Servants pick up rose-petals.

Achilla introduces Cornelia, her proclaimed desire to avenge Pompey, pre-empted by her son Sextus. Kim’s high-pitched counter-tenor, challenges the ‘perpetrator’ to single combat. Achilla, besotted with Cornelia offers to help them; looks in her eyes, expects her to pity his love. But his offer to help Cornelia is rejected. She’s sent to a harem, Sextus to prison!
Earlier, in a stand-out scene, Ptolemy welcomes Caesar with ceremonial pomp; but to Caesar’s mistrust. They do some totally original dance moves, a BAROQUE RUMBA, or raving rococo, led by Kalman’s Achilla.
By contrast, Cornelia’s pleads, ‘at least give me time to give my son a last kiss!’ Cornelia and Sextus, in Handel’s iconic duet, ‘I was born to weep, and will ever moan!’ Mingardo and Kim are both in white, centre-stage, she cradling him in her arms.

Cleopatra has arranged a party to seduce Caesar, (V’adoro pupille.) Is it a harem? Bartoli is in a shimmering, sparkling, see-through dress- a huge fan swaying over her. Behind, a video (DWOK) view of eastern Mediterranean. Vistoli’s Caesar is positively pouting, like a rock-star, Vistoli in a white jacket, slicked hair, caresses the mike, as if improvising, ‘It’s song sounds all the sweeter’.
Meanwhile, on another stage, Cencia’s Tolomeo virtually threatens to rape Cornelia. She will feel, yes, pitiless. The older woman arouses him. Sextus shoots a pistol to protect his mother. Behind them, a video view of the now frothy ‘Mediterranean’ waves.

Back to Caesar and Cleo. I adore you, your eyes arrows of love. (She’s come out as Cleopatra, no longer servant Lydia.) She’s carrying a mike, Bartoli now the rock diva. Your rays arouse my breasts, she croons. Now Caesar approaches. In Handel’s aria, he sings of a songbird. If in a pleasant, flowery meadow, a songbird sings…’
Meanwhile, Kim in a powerful display of coloratura, Sextus threatens, his anger will never rest until his father’s avenged, and Tolomeo’s blood spilled.
Bartoli’s Cleopatra is prancing around like a young girl. ‘Beautiful Venus, on me grant your grace…’ Stripped down to his waist – Vistoli in fantastic form for an opera singer- lies on Cleo’s disheveled bed. Curio enters, and warns ‘Caesar must die.’ Cleopatra lets slip her real identity, ‘I AM CLEOPATRA!’ Bartoli’s moving aria invokes the gods to preserve him, and pity her,(Se pieta di me non senti.)
And to the flashing of pyrotechnics, this warrior army will wreak vengeance! Behind, a spectacular video of angry waves, like an oil rig on a choppy North Sea!

In the confusing Act 3, Caesar and Curio escape, presumed drowned, Cleopatra sides with the Romans, Caesar is rescued; and Achilla mortally wounded, confesses to murdering Pompey. And Caesar, after grabbing Sextus’s seal, enters the Palace to kill tyrant Ptolemy!

He, Tolomeo, will tame her, see her humbled: she, like a rebellious Icarus, he’ll clip her wings. Cleopatra descends.’ If, just heaven, you feel no pity for me, give me peace, or I shall die…’ Plangero a la sorte mia. Against a bright red stage, Bartoli’s aria, (her superb artistry I need hardly mention.) Can I, in a single day, lose all my power and splendor?’ She kneels, pleading. She will lament with every breath in her body…But when I am dead, I shall haunt the tyrant night and day! We see back screen, a video of Ptolemy, Cenci’s face contorted, his body tormented by an invisible plague. (Cleopatra is led off-stage by her handmaidens.)

Caesar ponders, Vistoli in his aria, Aure, deh, per pieta, ‘Where shall I go? Where are my legions? You breeze, in pity, blow upon my breast’, sung to a melancholy recorder accompaniment. On the video above, the clouds seem to weep; very cleverly done. But ‘Cleopatra’s maidens weep in vain. They are hers no longer. Now see Cleopatra die’, sing Chorus.

Lots of flashing lights, and strobe effects, as Caesar enters the Palace- protected with Sextus’s pass- to rescue Cleopatra. Bartoli, when a ship comes out of a storm, sails safely to harbour, no more to be rendered. The voice is still a phenomenon.
Meanwhile, Sextus knifes Ptolemy with his father’s sword.(‘Now share joy as Pompey’s son avenges him.’) Caesar enters, sword-raised, to free Cleopatra. There they are, lined up. Caesar will grant Cleopatra dominion over Egypt. She will pay tribute to Rome. ‘More loveable beauty will never be found’, sing Chorus.

‘LET FAIR JOY AND PLEASURE NOW RETURN WITHIN YOUR HEARTS’, is sung by the full cast, an anthem, irresistible like (Messiah’s) Hallelujah chorus, resounding through the packed house. Monte-Carlo Opera’s cast was called back repeatedly, for over 15 minutes of ovations. PR. 8.07.2024 ©
Photos © : Featured image Cecilia Bartoli, Carlo Vistoli, Ensemble, Monte Carlo Opera; Cecilia Bartoli, Ensemble; Peter Kalman (Achilla), Sara Mingardo (Cornelia);; Max Emanuel Cencic (Tolomeo), Cecilia Bartoli (Cleopatra.) All photos © Marco Borelli