HIP Company’s vivid recreation of John Eccles’ 18th century opera Semele full of vim at Leederville Town Hall

Bright and bold Baroque strings set the scene for HIP Company’s vivid recreation of John Eccles’ 18th century opera Semele on Sunday, a first fully staged operatic production from this group. The 300-year-old retelling of a 3000-year-old myth is full of vim and vigour in the prim setting of Leederville Town Hall, as classical myth debunks love in favour of Bacchus and the joys of wine – English culture doesn’t change much! Curtains open on a floral arch and garlanded throne; a minimalist setting to throw the focus on music and drama, with period instruments reflecting the theme of historically informed performance (HIP). This tale of gods and mortals turns on Semele – rhyme it with Emily – played by soprano Bonnie de la Hunty as a regal vision in white, soaring in voice and stature, who is trapped between love of Jupiter (baritone Lachlann Lawton) and family duty. Her father, King Cadmus (baritone Brett Peart), and princely fiancé Athamas (tenor Louis Hurley) are a picture of piety in their wedding finery, but neither Hurley’s tuneful entreaties nor dashing artistry in the orchestra can turn back fate. Semele’s sister Ino (Sophie Hamer) stirs the plot with “mournful accents”, setting her eyes on Athamas in colourful tones that trigger fourway harmony and a sudden reveal as Jupiter’s thunder douses the temple flame. Chief priest (baritone David Woods) summons his cohort, tenor Jason Kroll and baritone Joshua Adams, in a resonant trio, “Avert these omens”, with Kroll rising above in sonorous descant. Athamas appeals to Juno (mezzo Olivia Sanders-Robinson), goddess of marriage and wife of Jupiter, while Semele calls on Jupiter (awkward!) and the chief priest dismisses the “impious” gathering. The temple belongs to Juno, after all. Ino and Athamas then unite over weeping violins, with crisp diction and well-crafted surtitles ensuring no moment of this drama is lost. Eccles’ 1707 score — never played to an audience in his lifetime, and only recently recorded before this believed-to-be Australian premiere — enhances the action as closely as any movie soundtrack, with vocal quality, clever lighting, and deft stage direction by Caitlyn Cassidy, supporting a large-as-life effect. Some magical touches — James Huntingford’s harpsichord mimicking Athamas’ despair — contrast with melodrama — Cadmus announcing Semele’s abduction by an eagle — and irony in the priestly trio plangently singing of Jupiter’s favour and “Endless pleasure, endless love, Semele enjoys above”: it’s an ill wind … Act II opens in strings; concert master Shaun Lee-Chen urgently leading violinists Eliza McCracken, Sarah Papadopoulos and Jane Cameron, violist Hannah Herriman, cellist Krista Low and bassist Andrew Tait in a brisk march. Hell has no fury like a goddess scorned as Juno magisterially conspires with handmaid Iris (soprano Rachael Liu) in revenge. A sleeping Semele, meanwhile, is tempted by a radiantly mischievous Cupid (soprano Lucinda Nicholls) narrating lascivious details of the adulterous liaison. Cupid brings on Jupiter — Lawton, garlanded as a god, blazing with power and desire — and De la Hunty finds another gear as their voices cascade over one another in duet. But it’s an unequal relationship and Semele is anxious: “I am woman as you made me” – a cry with a eerily modern ring. Jupiter summons Ino, and the two segue sweetly in sisterly love to the interval. Act III opens in furtive pizzicato then bursts into life as Juno and Iris seek a seance with the god of sleep, Somnus – a somnolently buffoonish Benjamin Del Borello – who sings down into his boots, “Leave me loathsome light!” and plaintive strings echo his discomfort. Juno and Iris weave a musical spell, reprised in a violin duet, to offer Somnus love in exchange for power — goddesses, too, can play #MeToo games. Semele’s conjugal bliss palls, her virginal white bridal robes now an off-colour compromise as she sings, “I die for the joy of ambition” and falls easy prey to Juno disguised as Ino. A magic mirror deceives her in flattering light as a goddess tells a mortal that a mortal can outwit a god. Ah, the irony! Juno relishes devilry as she convinces Semele to demand Jupiter unmask his divine form, knowing that will kill Semele. Serene strings reflect the false hope Semele embraces as Juno/Ino departs: “Vain wretched fool, adieu.” Jaunty rhythms announce Jupiter’s delight in finding Semele, but a poignant duet sums up their romantic distemper and thunder claps announce his oath to her “on the Stygian Lake” – in other words, “Hell, yes!” Tension is palpable yet solemn tones greet his conclusion: “She must a victim fall.” Juno is rapt as thunder flashes signal the fate awaiting Semele, who sees what she really fell for: “Too late I now repent.” Back on earth, mortals learn the truth, which Ino parlays into a promise of marriage, and Apollo (Del Borello) proclaims happiness, as Semele’s ashes will beget Bacchus, and wine will defend the human heart: “From tyrannous love you shall be freed.” “Happy, happy shall we be,” the chorus responds, joyously. HIP Company return to the stage on June 7, 7.30pm, at St Andrew’s Church, Subiaco, for With Darkness Deep: Music for a Winter’s Night. www.hip.company