'Semele' review — ancient myth becomes darkly provocative modern drama in this gripping opera production

Read our review of Handel's Semele, directed by Oliver Mears, now in performances at the Royal Opera House to 18 July.

First seen in 1744, Handel’s opera Semele dramatises Greek myth in a blend of music, comedy, and tragedy. The plot centres around mortal Semele, unhappily engaged to Athamas, who is spirited away by her lover Jupiter, king of the gods. Juno, Jupiter’s jealous wife, is enraged and plans to destroy Semele by manipulating her into demanding to see Jupiter in his divine form – something no mortal can survive. Semele is consumed by fire, but gives birth to Bacchus.

After a sold-out run at the Théâtre des Champs-Élysées in February, Oliver Mears’s bold production makes its way to Covent Garden for its UK premiere. Mears’s transformation of Handel’s subtle irony into a full-on dark comedy is provocative, yet undeniably compelling. Musically, the company shines under Christian Curnyn’s baton.

In his vision, Mears transports the myth to a luxury hotel in the 1950s-60s with an atmospheric set by Annemarie Woods featuring a richly decorated lobby, a furnace, and occasionally a bed at the centre. Jupiter is portrayed as a serial adulterer with Semele being just another one of his victims. The production leans heavily into humour: Somnus (Brindley Sherratt) singing from a bathtub surrounded by rubbish, and the words “Juno accepts our Sacrifice” being sung as the ensemble lights Juno’s cigarette for her.

At the same time, the ever-present furnace, used at key instances, foreshadows the inevitably tragic outcome. This constant reminder – coupled with the graphic depiction of Bacchus’s birth and Semele’s shocking death – prevents the production from appearing too farcical. These disturbing images frame the production’s biting humour in a brutal critique of toxic masculinity among the powerful. Ultimately, Semele is doomed to pay the price for daring to express her desires - and Mears ensures we see the cost with disturbing clarity.

The score features some of Handel’s most beautiful compositions and the performers sing to perfection. Ben Bliss, making his Royal Opera debut as Jupiter, is a warm tenor with impressive sensitivity in his delivery. Alice Coote’s Juno is delightful: absurdly vindictive and spiteful, she leans into the comedy while carrying a lot of colour and character in her musical performance. Sherratt, also appearing as Semele’s father Cadmus, is a rich bass and maintains a strong stage presence.

Pretty Yende in the title role is fantastic, emphasising the coming-of-age arc of Semele’s plot as she develops from a naive, passive, meek character into the figure of commanding confidence of the conclusion, especially in her rendition of “No, no, I’ll take no less”. This does result in some cautious renditions in earlier arias, but her voice remains pleasant throughout.

Mears’s production won’t please everyone: some of its imagery may seem gratuitous and difficult to stomach. But it’s a powerful staging which sparks real discussion. And with a cast of such musical calibre, and Curnyn conducting the excellent orchestra with a real mastery of Handel’s radiant score, this is a tough but riveting watch.

Semele is at the Royal Opera House to 18 July. Book Semele tickets on LondonTheatre.co.uk.

Photo credit: Semele (Photos by Camilla Greenwell)