Il Giasone

Francesco Cavalli’s 1649 opera receives a delightfully eccentric interpretation in this 2017 production from Switzerland’s Grand Théâtre de Geneve. A retelling of the Greek myth chronicling Jason’s pursuit of the Golden Fleece, the staging places more emphasis on romantic entanglements than Harryhausen-worthy adventure, with Jason and Queen Medea deepening their emotional bond—much to the consternation of King Aegus, husband of Medea, and Hypsipyle, Jason’s jettisoned lover and mother of their children. Jason’s procrastination in his mission also raises the ire of Hercules, brawniest of the Argonauts, and their arguments are the most entertaining aspect of this mounting, with scrawny countertenor Valer Sabadus as Jason in an intellectual duel with bass Alexander Milev (fitted into a musclebound costume decorated with tattoos) as Hercules. Stage director Serena Sinigaglia keeps the action moving at a solid pace on an abstract stone setting featuring a somewhat phallic pillar. Costume designer Ezio Toffolutti steals the show with playful creations: the Argonauts are presented as steampunk ruffians, Hypsipyle’s ladies in waiting wear the finest 1920s travel clothing, and Mary Feminear’s Cupid is encased in a fat suit with delightfully shabby wings. Performed by the Cappella Mediterranea under the baton of Leonardo García Alarcón, this is a handsomely framed presentation for contemporary audiences of Cavalli’s rarely-performed masterwork. Presented in 5.1 surround sound, this is highly recommended. (P. Hall)