(Photo: Szofi Raffay)

Domènec Terradellas, a composer born in 1711 in Catalonia, remains a somewhat elusive figure in the case of 18th-century opera. Following training at the prestigious Naples conservatory, his music flourished in Italy and London prior to his untimely death in suspicious circumstances in 1751. His “La Merope,” a testament to the abiding popularity of Merope’s tragic tale, was beautifully re-staged at Staatsoper Unter den Linden Berlin by the Akademie für Alte Musik Berlin (Akamus Berlin), proving once more that Baroque opera seria’s repertoire still holds many lesser-known gems to be discovered.

The Plot & Music Composition

Terradellas’ opera adheres to the traditional Aristotelian unities, seen particularly in the rigidity with which the libretto adheres to the three unities of place, story, and temporality: all set in the same place (Mycenae), developing the single thread of Epitide’s homecoming, in the short term. The narrative revolves around the Queen Merope and the son Epitide, the latter being punished against the usurper Polifonte. While the complications of love, betrayal, and politics in the plot complicate the tale, the emotional proximity of the music ensures that its dramatic power is invincible. In contrast to most of his contemporaries, who accompanied recitative with only strings and continuo, Terradellas was among the first to incorporate wind instruments to enhance the dramatic power. His quick arias are also distinguished by powerful orchestral support, imparting them an urgent expressiveness.

A Star-Studded Cast Delivering Stunning Performances

Opera seria is often perceived as being formulaic, with rigid character types and anticipated plot developments. But these devices, such as the storm and sea voyage in Merope, have an essential function. Common musical and dramatic motifs, common to 18th-century opera, permitted listeners to quickly grasp the emotional and narrative substance of arias, especially in such a work as “La Merope,” for which recordings do not exist. This compositional approach not only provided clarity but allowed composers to be inventive in a shared operatic scenario.

Emőke Baráth performed with masterful flair as Queen Merope, expressing the queen’s inner turmoil and self-doubt with vocal authority and emotional depth. Ill-informed of the true circumstances of her husband’s death, Merope falls into deep self-pity and self-doubt, powerless in the grip of the tragic fate that rules her life. Her portrayal of a woman torn asunder by destiny, seeking help from the forces of evil, was enchanting. Her portrayal of the aria where she invites the Furies to her wedding to the tyrant who killed her husband was among the most electrifying moments of the night, evoking comparisons to the ferocity of Charpentier’s “Medea” arias. The swelling passion of the orchestra, broken by dramatic pauses, contributed to the desperation in her voice.

Valerio Contaldo as tyrant Polifonte skillfully used his booming metallic voice to alternate between glacial calculation and pretended sorrow in the construction of a credible villain. His feigned grief at receiving (false) word of Epitide’s demise was impressive, with Terradellas’ diatonic major key composition, brass fanfares, and vocal virtuosity tricks highlighting the character’s devious dupery. Contaldo also introduced Polifonte’s savagery in using others as pawns to get his dirty work done and leaving them high and dry as scapegoats when things turn ugly. In his dialogue with Anassandro, during which he absolves himself of having anything to do with the king’s murder, Akamus Berlin’s churning brass and strings brought out Polifonte’s inner turmoil and fear, making the character’s nature more deep.

Balanced by Polifonte’s complexity was Sunhae Im as Argia, the Aetolian king’s naive daughter and Epitide’s sweet girlfriend. With her bright and lithe soprano, Im perfectly captured Argia’s sincerity and unwavering commitment. Being veteran with Terradellas’ opera, having already participated in complete recordings of the composer’s two other operas, Im obviously enjoyed the performance. Though her comparatively modest part, her vivacious interchanges in the recitatives with other singers, and her laughing whistling in the aria, bathing warmth and lightness with transmitted youthful fervor. won the crowd’s applause, especially on this home Berlin stage for her.

Licisco, the crucial go-between of truth and falsehood, was portrayed by Margherita Maria Sala. Her sarcasm-filled responses to Polifonte’s crocodile tears were a splash of irony and humor. The orchestra echoed her acid wit, sharpening her lines with acrid phrasing and effervescent rhythms.

Trasimede, the secretly loving Merope, was acted with exquisite tension between wanting and accepting. His avowal of love was particularly poignant, interrupted by eloquent violin duets by the first violins that underscored his turmoil. The cooperation between the singers and the instrumentalists drew out the subtleties of characterization, turning potentially cardboard figures into flesh-and-blood characters.

(Photo: Szofi Raffay)

The Musical and Orchestral Excellence

Francesco Corti’s direction of Akamus Berlin, alongside concertmaster Georg Kallweit’s guidance, was exemplary. Corti’s leadership combined authority and fluidity, enabling dynamic phrasing while ensuring the structural clarity necessary for Baroque music. His subtle yet expressive realization of the basso continuo supported the singers with impeccable timing and dynamic sensitivity. Unlike in some of his earlier performances when Akamus’ playing was a bit too sharp and angular, last night’s rendition was just right in elegance and mastered intensity. Those stormy and aggressive scenes common in opera seria were played with breathtaking precision, evoking evocative pictures of passion without exaggeration. Recitatives were loaded with drama and momentum, well-demostrating the innovative nature of the musical writing of Terradellas.

Final Thoughts: Fine Production Deserves to Be Documented

Even though the production was in concert form rather than a totally staged production, slight cuts were made to streamline the performance. The modifications did not diminish the effect of the drama and were likely necessary given the considerable length of the opera. With the potential cuts to the budget of Berlin’s cultural scene that lie ahead, not having a background for the performance is altogether justified, though the concert form of Baroque opera can benefit from an affordable, reusable setting that quietly conjures up the mood and period setting of the work.

The only dissatisfaction of the evening was not with the performance itself, but with the worry that such a revelatory production of a neglected masterpiece may not be universally preserved. With Berlin’s rich musical resources and the wonderful Akamus ensemble, and the Staatsoper Berlin’s long history of fine Baroque opera productions, it is surprising that the winter Baroque opera festival which proved to be extremely popular, Barocktag, will not be repeated in program for these few years. Artistic and brilliant productions such as “Merope,” need to be recorded professionally in the form of a broadcast or commercial release so that its impact may extend beyond those who are fortunate to have seen it.