Saul

Handel identified his 1739 work as a dramatic oratorio, a definition that director Barrie Kosky unabashedly embraces in this 2015 Glyndebourne Festival production, which transforms the biblical story of Saul's insane jealousy following young David's defeat of Goliath into a spectacular piece of stagecraft. Christopher Purves, in magnificent bass voice, rages impressively as Saul, bringing a Lear-like ferocity to the king, and while the acting of the remaining singers—countertenor Iestyn Davies (David), tenor Paul Appleby (Saul's son Jonathan) and sopranos Lucy Crowe (Merab) and Sophie Bevan (Michal)—is more subdued, all provide superb vocalism, set against a splendid performance by the period-instrument Orchestra of the Age of Enlightenment under the baton of baroque specialist Ivor Bolton. The staging is opulent, with the first act set at a huge banquet celebrating the Israelite victory and the second beginning with a remarkable coup de théâtre, in which the figure of Handel emerges from a sea of flickering candles on a spinning lift, playing the organ solo of the introductory sinfonia. A few missteps are found here: the costumes and makeup are occasionally grotesque, the sequence with John Graham-Hall as the Witch of Endor is simply bizarre, and the dancing added to the instrumental interludes often comes across as intrusive. Overall, however, this mounting brings Saul to life in a way that Handel could never have envisioned, although—being a consummate showman—would definitely have appreciated. Presented in DTS 5.1 and Dolby Digital stereo on DVD, and DTS-HD 5.1 and LPCM stereo on Blu-ray, extras include an intro by the director, a behind-the-scenes featurette, and a cast gallery. Highly recommended. (F. Swietek)