As Germany prepares for the 250th anniversary of Handel’s death in 2009, Haendel is taking over the repertory of many houses. And rightly so. The new production of Belshazzar at the Staatsoper sounds great, and looks great, since they decided to fully stage this oratorio. Purists might scoff but the direction doesn’t compromise the music in anyway.
The plot deals with fall of the Babylonian empire. King Belshazzar (Kenneth Tarver) has become a ruthless tyrant and a sacrilegious hedonist, who oppresses his Jewish captives, including the prophet Daniel (Kristina Hammarstroem). His mother Nitocris, played by the show-stealing Rosemary Joshua, who seems to have secretly converted to Judaism (don’t ask!), tries to persuade him to mend his ways. Meanwhile the Persian King Cyrus (Bejun Mehta) is at the gates of Babylon, ready to storm the city, and devices an ingenious plan to divert the river which protects the city and to march through the gates, taking advantage of the heathen feast carrying on inside. Get this: The Persians are the GOOD guys in this one!!!
During the feast, Belshazzar desecrated the vessels stolen from the Temple of Jerusalem, driving the last nail into his own coffin: The proverbial “writing on the wall” appears, and only the prophet can interpret it for him. However, even after receiving this message of impending doom, the king refuses to repend. The Persians march across the dry river-bed (the diversion of the river is a trully spectacular moment in its simplicity), and Cyrus fulfills the Jewish prophecy. After reconciling himself with the grieving mother, even offering himself as a second son, he promises to rebuild Jerusalem and restore the Jewish Kingdom. He might even convert to Judaism himself, depending on how you interpret the moment of him kissing the “Bible”!
During the “Nachfrage” session, conductor Rene Jacobs made the outrageous claim that the oratorio was “subversive” and anti-imperialist. Post-colonial revisionism is nice, but I think this is giving Haendel’s foresight too much credit. The oratorio deals with tyrannicide: Cyrus simply replaces the Babylonian Empire with his own enlightened rule. It’s also a very obvious defence of European expansionism. The “Persians and Jews”, both monotheists, are clearly constructed with the decadent heathens of the East. If anything, the oratorio was propaganda for the expanding British empire. The triumphal chorus at the end about spreading God’s message to the pagans leaves no doubt.
Still, politics aside, it’s a compelling night of theatre. Wonderfully acted, despite the demands of the music, especially by Rosemary Joshua: The scene in which she searches for her son in desparation is devastating. The chorus, which portrays the Babybolians, Jews, and Persians sometimes in confusing simultaneity, is incredible to watch. Some of the choral leaders are very young, and are hopefully heading for important careers: Vernon Kirk in particular stands out.
Christof Nel’s staging is appropriately restrained and simple, it never overwhelms the oratorio. The set, by Roland Aeschlimman, is simple but flexible, and with Olaf Freese’s lighting it continuously transforms itself. Together they provide levels in both height and depth that illustrate the corruption of Belshazzar’s power and also evoke the impending catastrophe.
It is far too optimistic (and forgiving) to see Belshazzar as a renunciation of empire, but it is definetelly a powerful meditation on tyranny. It’s also remarkable theatre, even if it was never ment to be staged!
