This clip is from a 1984 studio recreation‚ with the original cast‚ of John Copley’s ENO production‚ successfully exported to the US and elsewhere (usually with the stentorian Tatiana Troyanos as Caesar). The result is no travesty‚ however: it’s fast-moving and dramatically satisfying‚ and conducted by Sir Charles Mackerras in the same spirit. Copley also strives to avoid tedium - for instance backing da capo passages with stage activity - sometimes rather obviously. However‚ his staging‚ combining John Pascoe’s warm hued‚ vaguely 18th­ century designs with more naturalistic acting‚ translates quite well to the screen – not least because the singers are so committed. Dame Janet Baker as Caesar‚ less powerful than Troyanos‚ displays much more Handelian affinity. She not only delivers these difficult‚ florid arias with fiery élan and appropriate ornament‚ but infuses them with a real emotional intensity that sweeps one over the credibility gap. Valerie Masterson CBE‚ looking stunning‚ carries off "Lidia"/Cleopatra’s gorgeous music with admirable if slightly self-conscious virtuosity and a kittenish seductiveness which recalls Vivien Leigh.

Plot Background in this Clip

In Cleopatra's palace, while in disguise as "Lidia", she uses her charms to seduce Caesar. Cleopatra waits for Caesar to arrive in her palace. (Aria: Venere bella). Still smitten with her, Caesar arrives in Cleopatra's palace. However, Curio suddenly bursts in and warns Caesar that he has been betrayed, and enemies are approaching Caesar's chambers and chanting "Death to Caesar". Cleopatra reveals her identity and after hearing the enemies heading for them, asks him to flee, but he decides to fight. (Aria: Al lampo dell'armi). (Chorus: Morà, Cesare morà).

свернуть