The modest-scale – comprising only seven singers and ten players – touring production of Vivaldi’s L’Olimpiade by the Irish National Opera creates a big impact despite its simplicity. The show, created in collaboration with London’s Royal Opera House and Nouvel Opéra Fribourg in Switzerland, feels impressively comprehensive rather than restricted.
The INO’s innovative approach to the design of the baroque opera ensures an immersive interpretation of the convoluted plot, deftly alternating between recitatives and reflective arias. Under the thoughtful direction of Daisy Evans, the staging brilliantly captures and expresses fluctuating emotions and evolving relationships, while maintaining sufficient clarity for the audience.
Costumes play a significant role, reflecting the characters’ transformations and their shared Greek chorus-style roles, resonating with the opera’s original Olympic setting. Old-school white athletic costumes, topped with Molly O’Cathain’s baroque-inspired cloaks and tunics are effectively employed. The set, evoking an amphitheatre, provides varying focus and perspective and adeptly underscores the recitatives and da capo arias.
Jake Wiltshire’s lighting dynamically complements the staging with its nuanced shifts of tone and focus. The graceful movement direction by Matthew Forbes augments the narrative with poetic finesse, depicting backstage scenarios or providing symbolic reactions to the lyrics.
The team’s comprehensive and innovative approach manifests in this production as they explore and present the Opera, ensuring it strikes a balance between depth and clarity while avoiding an overwhelming or diverting experience. It can be considered as near to self-explanatory as it can, bearing in mind the complex storyline.
Pietro Metastasio’s convoluted storyline, adored by 18th-century crowds and composers likewise, is one that has undergone multiple renditions. By 1734, Vivaldi’s version of L’Olimpiade was the second instalment of this narrative, which would later serves as an inspiration for countless compositions well into the following century. The tale revolves around Licida, who saves his friend, Megacle’s life. Megacle, in gratitude, agrees to represent Licida in the Olympics where the victor wins the hand of the king’s daughter, only to learn too late that she is his lover, Aristea. This binds Megacle to the initial plan, causing heartbreak to himself, Aristea and Argene, Licida’s ex-lover.
The vocal performances are spectacular with Meili Li’s countertenor as Licida being particularly noteworthy for its poetic quality, agility, dynamic range and fresh tonality. However, the absolute standout for its effortless beauty and emotional nuance is Rachel Redmond’s soprano in the supporting role of Aminta. Gemma Ní Bhriain successfully takes on the unusual role of Megacle, originally written for a castrato, and Alexandra Urquiola (Aristea) and Sarah Richmond (Argene) offer subdued, yet powerful performances.
The music’s vitality and precision are enhanced by conductor Peter Whelan’s unique interpretation and delectable energy, echoed by the Irish Baroque Orchestra.
The Irish National Opera’s rendition of L’Olimpiade will be showcased at the Everyman, Cork, on April 23rd. The show will subsequently tour through Waterford, Limerick, Letterkenny, Navan, Dún Laoghaire, and Maynooth, with final performances scheduled in June at the Royal Opera House, London, and the Théâtre Equilibre, Fribourg.