Semiramide is a rare visitor to London. Opera Rara offered a splendid Prom in the Hanging Gardens of South Kensington last year, while the only time Rossini’s opera seria was presented in Covent Garden since 1887 was a 1986 concert performance starring June Anderson as the treacherous Assyrian queen and Marilyn Horne as Arsace, the warrior she makes her consort until she discovers he’s actually her son! Lengthy but full of melodic invention, Semiramide finally made her triumphant return to the Royal Opera in a fine new production seen earlier this year in Munich.
David Alden is also a rare visitor to the Royal Opera. The American director’s only previous production here was La Calisto in 2008 (also a co-production with the Bavarian State Opera). Here he tackles the tangled Babylonian dynastic tale, based on a Voltaire tragedy, by giving it a contemporary twist, setting it in a modern Middle Eastern military dictatorship.
The plot can be tricky to digest. Fifteen years before the action starts, the wicked queen Semiramide (with the help of Assur) had bumped off her husband, Nino. Plagued by guilt, she is forced to name an heir, choosing the heroic officer Arsace as her consort unaware he’s really her long lost son. Arsace swears vengeance after Nino’s ghost puts in a Hamlet-like appearance. After a touching mother–son reconciliation, Arsace lurks in the mausoleum’s vault to slay Assur… only to strike his mother dead in error. Throw in a subplot – Assur, Arsace and an Indian king (Idreno) all love the princess Azema – and you wish you’d been taking notes.
Alden and his designer Paul Steinberg give their production its eastern feel through Moroccan and Turkish tile designs, while the giant statue of King Nino is based on that of North Korea’s Kim Il-Sung in Pyongyang. It’s not just the East which is an influence; family portraits of Nino and Semiramide have an eerie Trump First Family feel, the king in shades and sporting a blonde quiff, and Buki Shiff’s vivid costumes often give Semiramide the striking look of Jackie Onassis. Azema, coveted like a trophy, is done up like an Oscars statuette, while the power-hungry Assur, sporting a jacket studded with medals, fanatically grips a globe like Charlie Chaplin’s Adenoid Hynkel in The Great Dictator. Assur’s axe-swinging guards look like members of the French Foreign Legion. It’s a collage of disparate ideas which don't always hang together well, but it often looks impressive.
Rossini’s score (slightly cut here) is terrific, full of melodic invention. Sir Antonio Pappano confirmed his pedigree as one of the world’s leading Rossini conductors with a performance that whistled along, right from its brusque, piccolo-tastic overture to the jolly chorus welcoming Arsace as king four hours later. Lithe string playing and chortling woodwinds were a delight, while the percussion was crisp.