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brings out to the full. It centres on the whole notion of feeding the beast, in both the literal
and metaphorical sense. In Stephen Barlow’s production the costumes worn by the
principals range from the era when the opera first appeared to more recent times, and act as
a complement to Adrian Linford’s set. The backdrop of this presents a traditional Arcadian

landscape, but the building to the left of the set, which recalls an eighteenth century house,
has peeling wallpaper and broken skylights. On the right, we gain even more of a sense of
what life is really like for the average worker as we witness rough brickwork, exposed pipes

and a rudimentary fountain.

Besides revealing how this supposed Arcadia is far from perfect, the implication is that we
are in a more modern era now but that various characters cling to different aspects of the
past, with their belief that the monster needs to be fed ensuring that it is. At the end of the

opera things are resolved when Fileno, who loves Celia, offers to sacrifice himself in order to
save her and Perruchetto, who have been thrust together as a couple so that they might be
given up. This leads the monster to transform into Diana, and thus save him because she

recognises his act of self-sacrifice. Watching this moment here, it is easy to believe that she
has spent years waiting for someone to enable her to lift her curse by acting in a selfless
manner, thus cancelling out her previous sense of offence. Instead though, the people had
chosen to feed the monster and propel its existence, but it did not have to be like that. At the
start of the evening someone holds a placard saying ‘Revoke the Curse’, as they might carry a

‘Revoke Article 50’ banner today, but they are sidelined, suggesting that the people were
capable of acting differently, but lacked the will power to do so.

With the philandering Perruchetto arriving on a motorbike, and the giant monster’s
numerous tentacles frequently reaching out onto the stage, the production feels fun, dynamic

and extremely professional. The cast too boasts many well developed voices and
accomplished performances. Elsa Roux Chamoux as Celia reveals a beautifully shaped
mezzo-soprano, while, as Fileno, Robert Lewis’ tenor is highly pleasing. Andrew Hamilton
displays a very full baritone as Perruchetto, and Adam Maxey a notably mature bass-baritone
as Melibeo. There is a lovely ring to Damian Arnold’s tenor as Lindoro, while Siân Dicker’s

excellent soprano comes to the fore in a perfectly pitched performance as Amaranta. There
are some wonderful hues to Harriet Burns’ soprano as Nerina, while Eline Vandenheede
excels in the small role of Diana. In the pit, Alice Farnham achieves a highly focused and

balanced sound from the orchestra, and the result is a truly delightful evening presenting a
Haydn opera that deserves to be heard a lot more frequently.

Casts vary over the run, with Cast A performing on 4 and 8 November and Cast B
(described above) on 6 and 11 November. For further details visit the Guildhall School of
Music and Drama website.