A Baroque Opera with a Contemporary Edge

Since its premiere on November 4, 2023, Vanemuine Theatre’s Handel’s Giulio Cesare production has captivated audiences. As a basso continuo player, I have the unique opportunity to bring historical performance to life in this bold staging. Directed by Elmo Nüganen, this staging blends historical performance with modern political symbolism, making it a striking and thought-provoking experience.

Musically, the production is in the expert hands of conductor Risto Joost. A remarkable aspect of this Giulio Cesare is its casting: the rare treat of three Estonian countertenors Martin Karu (Caesar), Ivo Posti (Ptolemaios), and Ka Bo Chan (Nirenus). Their presence not only highlights Estonia’s growing expertise in historically informed performance but also creates a unique contrast with the alternative cast, where mezzo-sopranos perform the same roles. As noted in Sirp, this production is a sparkling countertenor parade, a rare vocal event.

War, Power, and Theatrical Symbolism

Visually and conceptually, this Giulio Cesare is anything but conventional. Set designer Kristjan Suits and costume designer Kristīne Pasternaka combine Baroque flamboyance with modern militarism. It is a choice that initially startles audiences. The miniature tanks, camouflage-clad soldiers, and heavily stylized depictions of violence raise questions about whether such war imagery is necessary.

However, as audiences and critics reflect on these choices, the war-like setting begins to feel more justified. As Nüganen explains in his director’s notes: “This opera isn’t just about Caesar and Cleopatra’s love story; it’s about dictatorship, ambition, and the role of the masses in the game of power”. Unlike traditional productions that focus on the romantic elements of the opera, this staging places heavy emphasis on the people. The chorus is an active participant: victims or agitators, reinforcing the idea that power is not isolated from those who suffer beneath it.

Yet, the production’s engagement with war imagery also sparks debate. Sirp: “Art can always justify the presence of war, but it can also choose to ignore it deliberately.” Some feel the production leans too heavily into its contemporary political messaging. Others find it an effective way to make Handel’s opera feel relevant in today’s world.

Musical Highlights

We have two alternative casts, one with countertenors and the other with mezzo-sopranos. Muusika magazine notes that while countertenors bring an ethereal, historically authentic sound, the mezzo-sopranos provide a more direct, dramatically weighty interpretation of the same roles. Martin Karu’s portrayal of Caesar, in particular, is met with astonishment – both for his vocal brilliance and commanding stage presence. “A debut performance of this caliber is a rare phenomenon,” writes Muusika, describing his ability to command the stage with vocal and physical authority.

The production’s Kleopatra—alternating between Pirjo Jonas and Maria Listra—is another highlight. Instead of portraying the character as an untouchable queen, Nüganen’s direction leans into her wit, charm, and calculated political acumen. “A humorous, agile Kleopatra rather than a diva consumed by drama makes her transformation in Act II all the more powerful,” observes Sirp. Both sopranos navigate Handel’s fiendishly tricky coloratura passages with elegance, and Listra, in particular, is noted for bringing an electrifying energy and layered emotional depth to the role.

A Production That Sparks Conversation

The strength of this Giulio Cesare lies in its willingness to take risks—musically, theatrically, and conceptually. Some elements, like the omnipresence of the chorus and the militaristic aesthetic, are polarizing, but they undeniably add depth to the opera’s political subtext. The decision to bring musicians onto the stage and emphasize the role of continuo in the drama blurs the lines between pit and stage, sound and action, creating a production that feels alive in every moment.

Ultimately, whether one loves or questions certain aspects of this production, it is impossible to ignore. With world-class vocal performances, innovative staging, and a willingness to engage with contemporary issues, Vanemuine’s Giulio Cesare is a significant event in Estonia’s opera scene.

Theorbo and Guitar in Giulio Cesare

As a continuo player, my role in this production is mostly conventional. I play basso continuo on theorbo and guitar, accompanying most of the recits and all the arias. However, in addition to the work in the orchestra pit, in this production, I have an on-stage scene.

On a personal level, this Giulio Cesare is an unexpected historical event for me: for once, I don’t have to haul my instruments onto a plane, train, or bus to get to the venue. Instead, I walk five minutes to the theater and step into a beautifully intimate space that feels almost designed for this music. Vanemuine’s Small House, with its dry acoustics, is an ideal setting for a Baroque opera like this. I don’t even need to bring my concert clothes, as I perform in full costume provided by the theatre. Compared to the usual logistics of traveling for work, this is a rare and welcome experience.

The critical review in Sirp
The critical review in Muusika
Dozens of more review links and info about the staging, incl. future performance dates: https://www.vanemuine.ee/repertuaar/julius-caesar/