For director Oliver Mears, this is a story about religious fanaticism, about annihilating your neighbours and their religion
is based on an Old Testament tale of Israelite triumphalism, as the virtuous underdogs rise up against their Ammonite oppressors. Jephtha has a dubious reputation, but in their hour of need the Israelites ask him to lead a resistance, and he defeats the enemy.
Victory celebrations are clouded by a fateful twist: Jephtha has vowed, if he wins, to sacrifice to God the first person he encounters after the battle, and that person is his daughter Iphis. But Handel’s audiences liked happy endings, so a get-out was devised: the surprise announcement by an angel that the girl can be spared, if she agrees to spend the rest of her life as a virgin votary in the temple.and his team for seeking to milk the plot for contemporary relevance. For Mears, this is a story about religious fanaticism, about annihilating your neighbours and their religion, but that’s both simplistic and false.
Yet there are good reasons to see this show: Jennifer France for her exquisite incarnation of an ingénue self-transformed into a tragic victim on a funeral pyre, andfor his commanding Jephtha, whose descent into madness becomes a tour de force. And a big hand to 13-year-old Ivo Clark as the Angel for negotiating a difficult, high solo with perfect intonation – a remarkable feat for a treble.
Simon Lima Holdsworth’s massive sets powerfully evoke the ancient world, and the lighting designs by Fabiana Piccioli are strange and wonderful. It’s not clear why the chorus should be costumed as 19
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