REVIEW: Guilio Cesare in Egitto by New Trinity Baroque at Arcola Theatre 2 - 5 September 2026
‘Magnificent, tender and arresting’ ★★★★★
It’s terrific to hear eleven accomplished Baroque musicians playing Handel’s music on original instruments and using eighteenth century conventions such as lower pitch and tuning which is different from what our modern ears are accustomed to. The effect is bright without ever being raucous and sits well in the Arcola’s intimate space – which has, it magically turns out, the perfect acoustics for this music.
Predrag Gosta directs it all from the harpsichord with decisive warmth. It’s also, incidentally, a delight to sit so close to the orchestra – across the back of the in-the-round playing space that I could almost read their music. It’s certainly an immersive experience.
There are few props and the stage business is largely symbolic with masks and a mannequin head to suggest Pompey who has just been murdered. Throughout, we explore in immaculately articulated Italian with English subtitles, the power struggles of Egypt in 48 BC. Marcio da Silva who has been at Grimeborn Festival for four weeks with his own company, stage directs and sings (bass baritone) Achilla. He’s a man of many talents and, it seems, phenomenal energy.
Guilio Cesare in Egitto (1724) includes some of Handel’s most sumptuous and sensual music. In this production Frederica Moi singing ‘Priva sin d’ogni Conforto’ (‘Deprived of all comfort’) with beautifully judged oboe continuo (oboeist: Andres Villalobos Lepiz) had me on the edge of my seat. Her magnificent contralto voice (quite unusual these days when most female singers train as mezzo sopranos) is like a vibrantly dark claret with some of the most resonant bottom notes I’ve heard in years. As Pompey’s bereft new widow, she packs in every ounce of tragedy, loss and anguish.
Another very high spot, in a show which is not short of them, is counter-tenor Sandro Rossi singing ‘Va tacito e nascosto’ (‘Siilently and steathily’) which comes with a bassoon obligato (bassoonist: Mark Wilson). Like Moi’s, his voice is a marvel and every note drips drama. It’s a show stopping moment when he and Wilson reach what is effectively their duetted cadenza and, of course, they deliver it with aplomb.
As Cleopatra Radoslava Vorgic (soprano) is initially flighty but later very serious and determined. Julia Portela Pinon (mezzo-soprano) is suitably ruthless as Tolomeo and there’s good work from Silvija Radjen Kumar as Pompey’s grieving son, Sesto. All three of these roles would have been sung by castrati in Handel’s time. This production is predicated on authenticity but, thank goodness, there are limits!
Each of the singers comes from a different European country and this is detailed on the programme sheet. What a joy to see work which manages, almost casually, to represent Belgium, Serbia, Croatia, Spain and Italy. I can almost feel Handel beaming in delight.
Giulio Cesare in Egitto is at the Arcola Theatre on the 2 - 5 September 2026, part of Grimeborn Opera Festival
Tickets: https://www.arcolatheatre.com/event/giulio-cesare-in-egitto/
Presented by: New Trinity Baroque
Music & Lyrics: George Frideric Handel
Director and Lighting Designer: Marcio da Silva
Predrag Gosta: Artistic Director, Conductor & Producer
Marjorie Lemos: Stage Manager & Production Assistant
Photography credit: Julian Guidera
