Phaedra review Henze’s parable of death and renewal is fiery and sexy

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Taken into the Royal Opera’s repertory as a vehicle for the company’s Jette Parker Young Artists, Hans Werner Henze’s Phaedra was first performed in Berlin in 2007. It was not, as is sometimes stated, his last opera: there was still the music theatre piece Gisela! to come, but Phaedra does in some ways have a sense finality about it. Composed in the face serious illness, it’s a parable death and renewal, shot through with intimations mortality and an awareness the transient beauty the natural world.

It is ten regarded as a problematic work, thanks to Christian Lehnert’s libretto, an unstable amalgam classical tragedy and James Frazer’s The Golden Bough. The first act broadly follows the narrative Phaedra and Hippolytus, familiar from Euripides and Racine. In the second, however, Artemis resurrects Hippolytus as the forest god Virbius at Nemi, near Henze’s home in Italy, and the site the Virbius cult that Frazer analyses in his magnum opus. The sense verbal overload is inescapable, but the score is a thing great beauty, sparse yet sensual, ravishingly orchestrated and vocally striking.

Phaedra review  Henze's parable  death and renewal is fiery and sexy


Noa Naamat’s production, meanwhile, succeeds in turning it into a cogent piece music theatre. Clearing away much the symbolic clutter, she reduces it to a series fierce confrontations between the protagonists, as Artemis (countertenor Patrick Terry) and Aphrodite (Jacquelyn Stucker) battle for the souls Filipe Manu’s Hippolytus and Hongni Wu’s Phaedra, while Michael Midian’s Minotaurus, embodiment the beast in man, prowls continuously round them.

It’s finely sung, too. Wu’s voice darkens with passion as she forces her attentions on Manu’s touchingly innocent Hippolytus. Stucker’s insistent dramatic fire contrasts with Terry’s more measured eloquence, and Midian reveals a handsome, focused bass when Minotaurus, a silent presence for much the evening, finally sings in the closing scenes. In the pit, meanwhile, Edmund Whitehead conducts the Southbank Sinfonia with great care and attention to detail. It’s sexy, unsettling stuff, ten mesmerising to watch.

At the Linbury theatre, Royal Opera House, London, until 20 May