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| February 01, 2004 | Bailey, Walter B. | COPYRIGHT 2004 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Is Handel's Giulio Cesare a drama populated with power-hungry, lusty, larger-than-life men and women driven by the seemingly all-consuming, timeless desire to dominate? Or is it a backlot romp during the golden age of Hollywood? The latter was director James Robinson's take on Handel's opera (seen Nov. 8), trivializing the characters and their predicaments. Surely Handel didn't mean for his tenderest love song, "V'adoro, pupille," and the Parnassus scene to be Cesare's comic high point; surely he'd have written some other music if he'd meant for Tolomeo to spring back to life and make friends with his assassin. Yet despite the damage to the composer's original dramatic conception, the audience loved Robinson's many references to revered icons of the 1930s, from Jean Harlow to Busby Berkeley, to a dance-number shtick borrowed from the Astaire-Rogers classic Shall We Dance? The results were engaging to watch, even if one lost track of why events unfolded as they did, and Christine Jones's sets and James Schuette's costumes added to the fun. Robinson revealed a special gift for staging the da capo sections of Handel's arias, with pertinent activity that actually pushed the story forward, so that one's interest never flagged.

Amid the goings-on, there were some striking dramatic moments, such as a disturbing, wholly naturalistic ...

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