The Glyndebourne season continues with a revival by Donna Stirrup of Barrie Kosky’s 2015 staging of Handel’s Saul, widely regarded as one of the festival’s finest achievements and the production that cemented Kosky’s reputation in the UK as a director of remarkable originality. This is the first time I’ve seen it, having missed both its opening run and the 2018 revival, and it strikes me as an example of Kosky’s work at its finest: probing, insightful, sometimes witty, sometimes dark, always utterly engrossing.
Premiered in 1739, Saul has often been compared to King Lear. There is much of Shakespeare in this portrait by Handel and his librettist, Charles Jennens, of the Old Testament king whose mind slowly disintegrates under the challenges presented to him politically and privately by David after the death of Goliath.
