The Arcola Theatre rounds off the 19th season of Grimeborn with Handel’s Giulio Cesare in Egitto, one of the composer’s most celebrated operas. In this intimate new production from New Trinity Baroque, conductor Predrag Gosta directs from the harpsichord, bringing plenty of energy and warmth to Handel’s music.

The story has everything you could want from Baroque opera: political intrigue, revenge, seduction, murder and more than a little family dysfunction. Julius Caesar arrives in Egypt after defeating Pompey, only to be presented with Pompey’s severed head by the Egyptian king Tolomeo. Pompey’s widow Cornelia and son Sesto want revenge, while Cleopatra disguises herself as she sets out to win Caesar’s support and claim the Egyptian throne.

In a short introduction, Gosta encouraged us to hear the opera as Handel intended. Stage director and baritone Marcio da Silva talked about the importance of repetition in Baroque music, those recurring phrases that can make “time stand still”. And with Handel, there is certainly plenty of repetition, but in this production it never feels dull.

The 11-strong New Trinity Baroque ensemble plays on period instruments, including Baroque bassoon and oboe, violone and the wonderfully eccentric-looking chitarrone, a huge, long-necked lute. Gosta keeps things moving, turning Handel’s original four-hour-plus opera into a surprisingly manageable two-and-a-half hours without losing its dramatic punch. The playing is lively and spontaneous, with some lovely exchanges between orchestra and singers.

Sandro Rossi is an impressive Caesar. His countertenor is strong and richly coloured, with beautifully clear high notes, and he makes Caesar feel less like a distant historical figure and more like a sharp, calculating politician.

Julia Portela Piñón makes a wonderfully nasty Tolomeo, while Federica Moi brings real depth to the grieving Cornelia. Silvija Radjen Kumar is excellent as Sesto, burning with youthful determination for revenge, and Marcio da Silva gives the otherwise villainous Achilla an unexpected touch of humanity.

But the evening really belongs to Radoslava Vorgić as Cleopatra. Her silvery soprano and superb Baroque technique are matched by terrific stage presence. She can be funny, flirtatious, seductive and genuinely moving. Her quieter arias are especially beautiful, including her heartfelt plea to the gods to protect Caesar.

Visually, the production has some fun ideas. The characters begin in period costume, but these are gradually stripped away to reveal contemporary black clothing, while masks add another intriguing layer. Four masked senators surrounding and stabbing Caesar during one of Cleopatra’s arias is particularly striking.

In Italian with English surtitles. The music is glorious, with its superb singers, period instruments, and infectious energy. This is a hugely enjoyable night of Handel, and the five-minutes applause at the end suggested the audience agreed.

Baroque brilliance in miniature

Reviewed by Nina Gardner

Four and a half stars

Playing at the Arcola Theatre 2^nd – 5^th September 2026

For further details and tickets see link below

https://www.arcolatheatre.com/book-online/395180/

Creatives

Predrag Gosta, Artistic Director, Conductor, Set Designer, Costume Designer

Marcio Da Silva, Director, Lighting Designer, Achilla

Marjorie LemosStage Manager & Production Assistant

 

Performers

Sandro Rossi, Giulio Cesare

Radoslava Vorgić, Cleopatra

Silvija Radjen Kumar, Sesto

Federica Moi, Cornelia

Julia Portela Piñón, Tolomeo

New Trinity Baroque

Simone Pirri      Baroque Violin 1

Matthew Millkey     Baroque Violin 1

Sara Matovic    Baroque Violin 11

Kate Allsop       Baroque Violin 11/Recorder

Ana Torbica       Baroque Viola

Jacob Garside     Baroque Cello

Aaron Aguayo     Violone               

Mark Wilson        Baroque Bassoon

Andres Villalobos Lepiz       Baroque Oboe

Louis Moisan         Chitarrone