Zurich `Rinaldo' set in airport

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Handel with care: Zurich `Rinaldo' set in airport

By RONALD BLUM – 16 hours ago

ZURICH, Switzerland (AP) — The new jet-set production ofHandel's "Rinaldo" at the Zurich Opera left a large segment of theaudience pretty much dumbfounded.

Director Jens-Daniel Herzog shifted the action from Jerusalemaround the time of the First Crusade (1096-1099) to an airportluxury lounge and conference center, more than a wee bit later thanthe First Crusade. Rinaldo, the Christian warrior, wears adouble-breasted navy blazer, needs a drink and gets frustrated whenan elevator door closes on him.

Characters go up and down on-stage escalators, and the set spins toshow various areas of the lounge and terminal. There is adissection of a small, white furry animal, a large snake, someallusions to Bond girls and character transformations. TheChristians pull guns on the Muslims at a signing ceremony.

It was outrageous — and entertaining. It had little to dowith the opera that premiered in London in 1711.

This isn't the first time an opera has been time-shifted with anaeronautic theme. Peter Sellars' 1988 staging of Wagner's"Tannhaeuser" at the Lyric Opera of Chicago was moved from13th-century Thuringia to an airport.

Herzog's staging, based on a concept from Claus Guth, opened June15. Based on Wednesday's second performance, it's not an easy nightfor the audience, which was either so mesmerized or stupefied thata large segment was unsure whether to applaud when scenes ended.

The glue that held the night together was conductor WilliamChristie, who drew a sublime performance from the Orchestra LaScintilla of the Zurich Opera.

At the beginning, the on-stage action is confusing, given itsdisconnect from Giacomo Rossi's libretto.

Goffredo, the Christian captain, is in a gray, chalk-striped suit.The "army" is six businessmen and two businesswomen who pirouettewith their attache cases. Eustazio, Goffredo's brother, is a JohnnyDepp look-alike wearing a morning coat and sunglasses.

Argante, the Saracen king, is in a suit and tan kufi, a crochetedprayer cap. Armida, the Queen of Damascus and a sorceress, prefersred slip dresses and red patent leather shoes (which she uses tokick Argante in a delicate area) but later transforms herself intoAlmirena, Goffredo's daughter, who goes for white dresses and aGrace Kelly head scarf. Mago, the Christian magician, appears to bea homeless person hanging around the airport with a white lightsaber.

In the intimate Opernhaus Zurich, which seats about 1,100, singerscould be heard easily with no need to bellow.

Soprano Malin Hartelius gave an over-the-top performance as Armida,who with fiendish facial expressions gets to have the most fun.Soprano Ann Helen Moen was a sweet-voiced Almirena and was movingin the opera's most-famous aria, "Lascia ch'io pianga."

Mezzo-soprano Juliette Galstian, singing the title role for thefirst time during this run, had a lot to compete with in the busystaging but exhibited a clarion voice and winning ability to drawempathy. Soprano Liliana Nikiteanu was slimy as Goffredo, andcontralto Katharina Peetz looked like a Tim Burton creation asEustazio. Bass-baritone Ruben Drole was menacing as Argante.

Christian Schmidt's vividly modern sets and costumes, and RamsesSigl's constantly whirling choreography left the greatest impact.Some might consider it Eurotrash, others great fun. All will findit memorable.