For a first experience of a Cambridge University Opera Society performance, Max Mason and Freddie Lindsey-Coombs’ skilled staging of Handel’s Semele certainly did not disappoint. Equipped with accomplished singing, long-winded arias and exaggerated facial expressions, Semele has all the makings of a successful ‘musical drama’ (not an opera, as I have since learned).

Based upon the tale from Ovid’s Metamorphoses, the story of Semele is one of love and jealousy, revenge and hubris. It features a young woman who, being driven into a marriage she does not desire, chooses a different—more ambitious—path, among the gods.

The tale is slightly absurd: scenes range from sadness to celebration in moments; the demure Semele (Ailsa McTernan) is quickly thrust into the role of a comedic, flirtatious airhead; the gaudy Apollo crashes a grief-stricken funeral. While this may sound like a criticism, it is the opposite. The eclectic, unpredictable story allowed the cast and crew to have fun with the performance. The cast prove almost as entertaining as they are musically accomplished, drawing frequent laughter from the audience.

Ailsa McTernan’s voice sounds sweet and effortless

Great attention is paid to ensure the stage is always visually compelling. The performers have been well directed, with dramatic eye roles and physical drama during particularly long arias, because—let’s face it—they do tend to drag, especially for modern audiences. Hannah Dienes-Williams as Ino is particularly accomplished in this aspect.

The costume design also works well. Semele’s costume during her aria ‘Endless Pleasure, Endless Love’ is artful, with the feathers providing a light-hearted interest that complements McTernan’s beautifully light, agile soprano. Hints of gold indicating the status of certain characters is tasteful, although this loses some of its tact in the final, over-egged costume of Apollo. But this blatantness did work for some of the audience, who seemed to enjoy the image of a discount Elvis Presley circa 1957—each to their own.

Set design is simple, occasionally leaving the stage completely bare, with only props, such as the recurrent white blooms. The playful use of an upright bed is a standout set, generating multiple surges of laughter from the audience. The lighting is very effective, being of central importance to certain scenes; it adds polish to the performance.

A review could not do this play justice without mentioning the astonishing performances from the singers. The cast present a superbly chosen blend of voices, demonstrating incredible range. Ailsa McTernan is wonderful as Semele. Her voice sounds sweet and effortless, and she takes the ambitious melodies in her stride. Alasdair Austin is similarly seamless as Athamas, with his voice and performance fitting the lovesick, self-centred prince unnervingly well. James Gant’s Jupiter perhaps lacks gravitas, something particularly notable as he spends so long sharing the stage with McTernan and sings the most well-known aria of the drama, ‘Where’er you walk’—no easy task. But his performance is otherwise strong. Katherine Gregory is particularly memorable for her range, power and control in her fun and energetic performance as Juno.

The orchestra, directed by Max Todes, are equally skilful. The live music is well performed with very few mistakes and Todes’ confident conducting keeps the performance on good track.

While not all elements of this performance work, it is musically and visually accomplished and determined to remind audiences that opera can be fun. The skill of the cast and crew make it truly a pleasure to watch.