Semele di Händel a Bologna: Prandi dirige l’ouverture come un libro illustrato

In a notable expansion of the Italian baroque repertoire, Georg Friedrich Handel’s Semele was introduced to Bologna’s Teatro Comunale audience for the first time on October 23 and 25, 2026. The performances took place at the Auditorium Manzoni as part of the opera season Verso Itaca, marking a significant addition to the city’s musical offerings.

This staging was distinctive not only for its premiere status in Bologna but also because it was presented in concert form, a decision that emphasized Handel’s inherently dramatic musical language without the conventions of full theatrical staging. Giulio Prandi, a conductor well-versed in historically informed baroque performance, led the Teatro Comunale’s orchestra and choir, ensembles not exclusively focused on baroque music, necessitating careful adaptation to Handel’s stylistic and rhythmic demands.

Semele occupies an intriguing place in Handel’s oeuvre, straddling the boundaries between oratorio and opera. Written in 1743 on a libretto derived from William Congreve’s work and based on Ovid’s Metamorphoses, the narrative recounts the tragic story of Semele, daughter of Cadmus and lover of Jupiter. Her fatal desire to witness Jupiter’s divine form culminates in her destruction, a tale rich with complex emotional and thematic layers.

The choice to present Semele in concert form allows the music and vocal performances to bear the full weight of storytelling. Handel’s composition inherently integrates theatrical elements: recitatives define character, arias deepen emotional insight, and choruses provide collective commentary. This format invites the audience to engage closely with the musical narrative, arguably intensifying the dramatic experience despite the absence of visual staging.

Prandi’s leadership brought a refined understanding of Handelian style to the production, stepping in to replace Rinaldo as conductor. His expertise in baroque repertoire ensured that the orchestra and chorus navigated the stylistic challenges presented by an ensemble not solely specialized in early music.

The cast featured soprano Suzanne Jerosme in the title role, countertenor Raffaele Pe, a prominent figure in the international baroque scene, and tenor Jorge Navarro Colorado. Their vocal interplay provided the necessary timbral contrasts essential to the piece’s dramatic fabric. Pe’s commanding stage presence and vocal authority contributed significantly, especially within the constraints of concert performance.

Positioning Semele within the Verso Itaca season was thematically resonant. The season’s title, evoking a journey toward an elusive destination, mirrored Semele’s own narrative arc—a pursuit of transcendence that ends in downfall. This alignment underscores Teatro Comunale’s strategic programming, which balances established operatic works with explorations into lesser-known baroque compositions.

Semele’s arrival on Bologna’s stage in 2026 also highlights ongoing dynamics in Italian operatic programming, where certain baroque works remain rare. This rarity invites reflection on the evolving canon and the potential for broader inclusion of Handel’s less frequently performed works.

The production also raises interpretative questions about the blurred lines between oratorio and opera, sacred and secular themes. Handel crafted Semele during a transitional phase in his career when his relationship with Italian opera was waning, and the English oratorio was becoming his preferred medium. Yet, Semele’s secular, mythological subject matter and theatrical intensity challenge traditional categorizations.

Concert performances of baroque works often incorporate elements of stagecraft even without full sets or costumes. In this instance, the singers utilized vocal expression and restrained physicality to convey the drama, compensating for the lack of visual storytelling aids. Such an approach demands heightened interpretative skill and offers a distinct audience experience.

Overall, the inclusion of Handel’s Semele in Bologna’s Teatro Comunale repertoire reflects a thoughtful expansion of musical horizons, supported by expert direction and a cast adept at bridging musical and dramatic demands. Its presentation in concert form invites reconsideration of performance practices and repertoire boundaries within contemporary baroque opera staging.