This 2012 production was the centrepiece of Cecilia Bartoli’s first season as Artistic Director of the Salzburg Whitsun Festival. It’s a pleasure to note that Andreas Scholl has retained almost all his tonal beauty over 20 years now. Costumed as a European Union bureaucrat, his towering physical presence and wonderful sound befits the stature of the role. 

Christophe Dumaux exudes danger and menace as Tolomeo. His nemesis, Sesto, usually comes across as a dithering ninny but Philippe Jaroussky takes hold of the role, his youthful look suggesting a boy out of his depth in a pool of circling sharks. Anne Sophie von Otter has gravitas as aging beauty Cornelia, singing with such artistry as to conceal any marks of time. 

Bartoli’s Cleopatra is a knockout; a big, blousy Elizabeth Taylor portrayal sung with flamboyance in triumph and tenderness in defeat. The big tragic arias are heart-rending showstoppers, the artist spinning endless strands of silken tone. In contrast there’s Bartoli in frizzy blonde wig astride a missile. Once seen it’s difficult to unsee. And there’s the rub – wonderful musical performance in an ugly mess of a production. I counted off the directorial clichés; No 7 – dancers in army fatigues, No 13 – flaming oil drums. The Arab Spring setting is obvious but has been done to death. Did Cornelia really need to put her head in the jaws of the giant rubber crocodile? You may need to close your eyes.

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