Garsington Opera promised at least three new Vivaldi productions and now with L’Olimpiade they have not only reached that point but made an excellent case for a far wider revival of Vivaldi’s operatic opus.

If last year was good, L’Olimpiade strengthens the realisation that not only are the works dramatically sound – certainly as much as anything by Handel – but are musically stunning. Moreover, the range of music within each work is constantly surprising. From the fearsome coloratura of the counter-tenor arias to the Gluck-like sensuality of Lucida’s Mentre dormi, the score constantly enchants. The only slight risk is the large amount of recitative which Vivaldi allows. Thankfully David Freeman’s production encourages a fairly naturalistic approach to characterisation which in turn makes for fluidity and pace, moving the narrative on rapidly and rounding out characters as the plot evolves.

While the Olympics may form a backdrop to the story – and a splendidly tongue in cheek staging of a number of contests – the focus is essentially on a small group of star-crossed lovers. The Shakespearean parallels are very clear though the climax is unexpected. Just when the lovers relationships appear to have been sorted out, we are reminded that the sacrifice still needs to go ahead and only a democratic vote can save our hero. The sudden moment of tension brings added bite to the second act just when it could be heading towards a conventional happy ending.

David Freeman’s production brings the costuming up to date but divorces the narrative from any specific time or place, allowing the characters to develop a life of their own.

Tim Mead and Emily Fons were convincing heroes; brash, youthful and often unreliable, but equally forgiving and open to their mistakes. The score held no terrors for them and they were comfortably matched by Rosa Bove as Aristea and Ruby Hughes as Argene. Aristea is a somewhat more conventional princess, but Ruby Hughes’ Argene was able to show a wider range of emotions as well as bringing a welcome sense of humour to her relationships – no blushing violet here!

As with the male lovers (though one of them was of course a woman), the heroines were well matched vocally and histrionically.

Riccardo Novaro convinced as Clistene and William Berger as his sinister right hand, Alcandro.

One voice, however, which stood out above all the others was Michael Maniaci’s Aminta. He is a real male soprano with the most beautiful and heroic of tones, fluid in line and mellifluous in ornamentation.

Laurence Cummings was again in charge in the pit, proving a sympathetic accompanist and maintaining a fine balance between speed and precision. The continuo playing was particularly impressive throughout, and the new house has a far kinder acoustic for baroque opera.

The simple setting, making good use of the light and air which surrounds the stage of the Opera Pavilion at Wormsley, included five Greek bronzes, two of which graced the foyer area on non-Olympic nights.

Hopefully this will not be the last Vivaldi from Garsington Opera. The revival has only just begun. BH

Read Ruby Hughes Interview with the Editor on the National News page