Theatre review: L’Olimpiade takes gold with stunning 18th century love story

Theatre review

Rachel Redmond (centre), Gemma Ní Bhriain, Chuma Sijeqa, Sarah Richmond, Alexandra Urquiola, Seán Boylan and Meili Li in L'Olimpiade. Photo: Ros Kavanagh

Emer O'Kelly

One of the most engaging factors about the counter-tenor voice is its contrast to the kind of role written for it. In baroque opera, the counter-tenor usually sings the heroic male lead, and there’s a striking contrast between the almost unearthly sound of the voice singing: either a passionate lover overcoming all to win his lady, or an all-conquering hero of the battlefield.

At least that’s usually the case. But Antonio Vivaldi stepped out of line in 1734 with L’Olimpiade. Set in pre-Christian times with the Oracle of Delphi exerting the awesome power of Pope and Dictator combined, Licida is at best a bit of an anti-hero. At worst, he’s a faithless scoundrel and cheat. But at least the audience still gets the all-conquering beauty of the vocal reaches. And he gets the girl.