In the Realms of Sorrow review

Next up is Armida Abbandonata, in which the sorceress who falls in love with the Christian knight she is meant to seduce rails against another failed relationship. Nardus Williams provides the evening’s finest singing in the title role, as if by magic appearing in various parts of the auditorium in glamorous attire – yet never succeeding in impressing Baker’s blasé knight.

Ero e Leandro sees Baker tackling the difficult task of playing the dead Leander, whom Soraya Mafi’s Hero momentarily imagines coming back to life before it becomes apparent that she is mistaken. The latter’s vocalism is consistently empowered. In Agrippina Condotta a Morir, Claire Booth makes a tragicomic grotesque meal of Nero’s mother Agrippina, condemned to death by her own son, and going through a maelstrom of emotions as she comes to terms with his betrayal and her hatred of her own offspring. Baker here takes the role of the appallingly narcissistic Nero, eventually receiving the applause of the decadent Romans played by the musicians and the other singers.  

Thomas’ highly physical stagings benefit from Hannah Clark’s striking costumes and vivid lighting from Josh Pharo, as well as the complete commitment of everyone on stage; but as vocal or dramatic enterprises they are uneven. Laurence Cummings and his small instrumental ensemble tackle both Handel and Werner with skill, helping to bind together a piece that never quite gels as a whole.