United Kingdom Handel, Susanna: Soloists, Phoenix Dance Theatre, Chorus and Orchestra of Opera North / Johanna Soller (conductor). Lowry Theatre, Salford Quays, 14.11.2025. (MC)
It was astute of Opera North to stage Handel’s Susanna; a work I rarely see programmed. Strictly speaking Susanna is a baroque oratorio based on sacred themes. Today, like many oratorios Susanna is sometimes described or thought of as an opera owing to the dramatic nature of the text. Susanna together with other Handel oratorios: Jephtha, Saul, Semele and Theodora are frequently staged as fully fledged operas.
At one time oratorios were performed at church services, religious festivals and in concert settings, rather than the opera house, a move that is becoming much more common. It is now common for oratorios to be described as ‘operas in disguise’. For those who wonder if oratorios do work on the opera stage this Opera North production of Susanna directed by Olivia Fuchs lays down a firm statement that they certainly do.
In 1713 Handel was living in England therefore his oratorios employed English texts, taken mainly from the Old Testament rather than the New. Handel completed Susanna in 1749 based on the Story of Susanna and the Elders from the Book of Daniel (Apocrypha). There is uncertainty around the authorship of Handel’s actual libretto. Susanna was a popular subject especially in art, for example the biblical scene Susanna and the Elders has been painted by many great artists including Tintoretto (1555-56), Rubens (1607), Van Dyck (1621-22), Rembrandt (1647), and Sebastiano Ricci (1713).
In the Old Testament story Susanna is the chaste wife of her wealthy husband Joacim who departs on a trip. A pair of salacious Elders watch her bathing. Wanting sexual favours from Susanna they conspire to blackmail her by spreading false accusations about her committing adultery. While Susanna is sentenced to death for her crime of adultery the Prophet Daniel exposes the lies of the Elders. Susanna is absolved of any crime, and her reputation is restored.
Talented, award-winning, British-German stage director Olivia Fuchs is no stranger to Opera North having previously directed Rusalka, Don Giovanni and Falstaff. This whip smart director has taken Susanna away from an Old Testament setting by replacing it with a new, clean, updated production full of imagination. Despite modifications to the setting the morality remains the same, showing how the principles of integrity triumph over evil.
Set and Costume Designer Zahra Mansouri used a simple concept that worked extremely well. The set centred around a substantial, elevated metal walkway with rails and staircases. On the stage floor, were several moveable plexiglass screens that were frosted and the size of large doorways. Mansouri’s thoughtful range of costume designs were exceptional. Conspicuous were the vivid outfits worn by both Susanna dressed in the theme of white silks and Daniel in a colourful array of green tops and woollen headband with combat trousers. Making an impression as authoritarian figures the principal men wore business suits. Predominantly muted colours were worn by the remaining cast in dark greys, browns and blues. At points in the performance the chorus wore dark gaberdine, belted raincoats. Drawing attention too were the Phoenix dancers wearing loose light-coloured blouses and brown trousers.
Anna Dennis did a remarkable job in the title role of Susanna expressing a confident personality that seemed to own the stage. Striking throughout in her white costumes Dennis was vocally convincing right from the outset and proved most suited to the demanding role. Giving a consistent performance as Susanna’s husband Joacim was countertenor James Hall. He was much admired and at times when he sang, I could hear murmurs of satisfaction from audience members.
Although appearing only in the third act, Daniel is a crucial role, a figure often referred to as a prophet. In a directorial note in the programme Fuchs explains that she has reimagined Daniel as a ‘gender-fluid person’. Unless audience members had read this prior to the start of the production, I expect the role of Daniel would have been viewed as a typical baroque opera trouser role. As Daniel, Claire Lees shone, her soprano voice projected strongly with clarity making her contribution feel heroic.
As the first and second Elders Colin Judson and Karl Huml gave memorable performances. It was easy to react with disgust at their evil deeds and feel ashamed of their abuse of power. After Susanna’s exoneration she confronted the Elders by kicking one where it hurts and pulling down the pants of the other. Making slapstick out of a gravely serious subject I felt these actions were out of place. Bass-baritone Matthew Brooke sang the role of Chelsias, Susanna’s father. It is a modest role yet Brooke’s stage presence was significant, and his voice was focused.
I certainly approved of the concept of Fuchs including a strong dance element to the production by collaborating with the Leeds based Phoenix Dance Theatre. As an additional layer the visual aspect added to the content of the production and increased the interest. Such a success the Phoenix troupe of nine dancers excelled under the creative direction of choreographer Marcus Jarrell Willis. Admirable was the expressive and ebullient performance of the dancers, high on fluidity and flow and hard to fault. Deserving praise too Tianah Hodding, the BSL Performer, worked hard with clarity and focus.
Conducted by Johanna Soller the playing of the Orchestra of Opera North was a constant pleasure and genuinely added to the success of the production. Several period instruments used notably a harpsichord, guitar and theorbo were a treat to hear. Expertly drilled by chorus master Anthony Kraus the Opera North Chorus, as the Chorus of Israelites and Babylonians, was well unified, its sound making a real impact.
Handel oratorios and operas are renowned as being lengthy. From start to finish this Opera North performance of Susanna directed by Olivia Fuchs was superb and firmly held my attention. I couldn’t find a weak link in this well selected cast of principals.
Michael Cookson
Featured Image: Anna Dennis (Susanna), Claire Lees (Daniel), James Hall (Joacim) and Matthew Brook (above, Chelsias) with the Chorus of Opera North and Phoenix Dance Theatre © Tristram Kenton
Production:
Stage Director – Olivia Fuchs
Set and Costume designer – Zahra Mansouri
Lighting designer – Jake Wiltshire
Choreographer – Marcus Jarrell Willis
British Sign Language consultant – Adam Bassett
Chorus master – Anthony Kraus
Cast:
Susanna – Anna Dennis
Chelsias – Matthew Brooke
Joacim – James Hall
Daniel – Claire Lees
First Elder – Colin Judson
Second Elder – Karl Huml
Judge – Dean Robinson
Susanna’s Attendant – Amy Freston
Phoenix Company Dancers: Dorna Ashory, Teige Bisnought, Aaron Chaplin, Phikolwethu Luke, Graciela Mariqueo-Smith, Hannah McGlashon, Yasmina Patel, Tony Polo, Dylan Springer
BSL Performer – Tianah Hodding