Semele at Royal Opera House review: 'deeply disturbing and thought provoking'

Pretty Yende (Semele) in Semele - (Camilla Greenwell)

Confronting the audience at the outset of Oliver Mears’ challenging new production of Handel’s Semele is an unappealing grate cover, the sinister purpose of which is only gradually revealed.

The desire of the title character (here, a servant in the household of Jupiter and his wife Juno rather than a royal princess) to have her lover appear in godlike form ends badly for her in William Congreve’s text when she’s consumed by a bolt of his lightning. That moment is skilfully anticipated in this production by Fabiana Piccioli’s lighting plot, dramatically contrasting stygian gloom (faces often daringly in shadow) and fiery glare.