Serse

This Role is from the Opera :
Serse

This role performs the piece/s :
Crude furie degl'orridi abissi
Di tacere
E tormento troppo fiero
Gran pena e gelosia
Il core spera e teme
Io le diro che l'amo
L'amerete, l'amero
Ombra mai fu
Per rendermi beato parto
Piu che penso
Se bramate d'amar

The Voice Type for this Role is :
Mezzosoprano

(Where stage directions are quoted, they appear in ‘italics’).

FACTS: The historical Xerxes (Serse) was a king of the Persian empire, ruling from 520 to 465 BC. His father Darius I had build a vast empire, including the Greek city of Iona, whih revolted against him in 499 BC. Darius crushed the revolt and attempted to take Athens by force, but his army was defeated at the battle of Marathon.

Ten years later, in 480 BC, Darius’ son Xerxes returned, and bridged the Hellespont with two bridges created from ships lashed together with flax and papyrus cables. Despite the first bridges being destroyed by a storm, (as recounted in the opera) he rebuilt them, and his vast army marched into Greece across them for seven days and nights.

After an initial victory against the Spartans at Thermopolae, the Persian force burnt Athens, but were finally defeated by the Athenian fleet and the army scattered back to Persia. Xerxes had a tough time as ruler, also crushing uprisings in Egypt and Babylon, but his plans to invade Europe (as mentioned in the opera) were scuppered in Greece. Xerxes was assassinated, by his chief minister Artabus, in 465 BC.

CHARACTER EVOLUTION: Serse first appears in ‘a beautiful garden’,where he reveals the gentle side to his nature as he admires his plane tree and hopes it will weather storms. (Ombra mai fu).

He is so enamoured of Romilda’s singing that he doesn’t notice that her song might just be poking fun at him. Instead, he realises: “ This voice alls my burning heart to love’s soft passion.” As Arsamene tries to put him off Romilda, he almost catches his brother out:
Serse: You said to me you did not know her? How come you do now?
Arsamene: I know her by name alone.
Serse may realise that, legally, his brother is right, that Romilda is not suitable, but “Your counsel is worthless, she will rule beside me.” He is used to having everything done for him: "Tell her I love her, I command you.” As Arsamene declines, he takes on the challenge: "I will declare my passion, and take her in my arms.”

In fat he simply offers her power: “Fate guides you to the throne, where love will enrich and bejewel it.” As she demurely abstains, he sees, “ I know why you deny me. I suffer because of Arsamene.” In his fury, he banishes his brother: “Swift as a river’s course, go, far from this court.” He tries to win over Romilda: “Why taught you to be so cruel, silent and scornful?” (Di tacere e di shernirmi)

Serse embraces his commander Ariodate, delighted that “Your sword always brings victory” and gives him the town in gratitiude – quite a gift! In an oddly shy moment, Serse asserts that “One equal to Serse and of his line” will marry Romilda; it is this uncharacteristic lack of clarity that denies him her hand later on.

Serse hopes that “These victories predict my triumph in love” but is aware of the consequences: “What will Amastre and her father say about this new passion, this new marriage?” However, he has the passion, and status, to do it: “Whatever great monarchs choose to do, the world approves of.” When Amastre appears in disguise, and repeats the ‘lie’ that his bridge may be vulnerable, he dismisses him/her rapidly. He prefers to think about on his growing love. (Piu che penso alla fiamma del core)

He is roused from his torment (E tormento troppo fiero l'adorar cruda belta) by Atalanta openly reading a letter: “Perhaps you read of love.” He recognises his brother’s handwriting but is “Amazed” to discover it is to Atalanta, but the news makes “My heart exult!” Here is an opportunity to be rid of his rival: “Fair one, he will be your husband, or he’ll know the force of my anger.”

He immediately takes the letter to Romilda: “ Deceived Romilda! Read this and then say if Arsamene is worthy of your love.” He cannot believe that Romilda remains in love with Arsamene, but is caught in the same love-trap: “ “If you’d worship the man who has spurned you, I should renounce you, but I cannot.” (Se bramate d'amar, chi vi sdegna)

As the chorus praise his bridge from Europe to Asia, Serse presses ahead with his military plans despite “Mountainous seas and a faithless wind.” Here is the military commander in action: “Before the dawn of the third day, I shall march into Europe.”

He appears to have forgiven Arsamene (and forgotten his banishment): “I am no longer angry.” He grants Arsamene: “I’ll give you in marriage the fair one you adore”, trusting in Atalanta’s information.
Serse: I know you love Atalanta.
Arsamene: I love Romilda.
Serse: You do not fool me.
Yet moments later, he says to Atalanta: “ In truth, he does not love you, so avoid the needless pain of loving him.” Serse is more aware of the plotting than she realises. He certainly realises his own increasingly difficult predicament and his chances of success: “ If I ask my hopes about her, they say yes; ask my fears, and they say no.” (Il core spera e teme penando ogn'or cosi)

Serse suffers the “The great pain of jealousy” and again tries his luck with Romilda: “Will, one day, my fierce torments cease?” When Amastre interferes, he ‘Leaves in anger.’

Serse has one more attempt at seducing Romilda: “You have all my power; my heart and my kingdom is yours” before having to resort to threats.
Serse: Refuse me no longer.
Romilda: I will always refuse you.
Serse: I will find ways to break – you understand?
Overjoyed, he responds to her request to ask her father’s permission, which is totally unnecessary; he is the king, after all. (Per rendermi beato parto, vezzose stele)

Quite why Serse doesn’t just come straight out with his request to marry Romilda is probably to do with his status; he wants to build the excitement of the revelation that it’s him to his employee. “If you approve, we will give to Romilda a consort of royal blood.”

Serse is outraged that Arsamene has dared to kiss Romilda, and his patience is exhausted; “First I shall make you a widow of that kiss, and then you will be my wife. (Exits in a rage)”

Finally, Serse decides “It’s time to tell Ariodate that it’s I who ask for Romilda’s hand.” Of course, it is too late, and Serese rants that “I am betrayed.” The letter raises his anger further: “How dare she accuse me of ingratitude?” before the real author is revealed, building his anger to new heights. (Crude furie degl'orridi abissi)

Only when faced with Amastre in person, her sword at his chest, does Serse repent:
Serse: Wait, I repent…
Amastre: And you will love me again?
Serse: Yes, and do not deserve your pity.
As Serse begs forgiveness from his friends, the chorus celebrate the triumph of love and honour.

THINGS TO THINK ABOUT: “As the opera develops, you will notice that Xerxes’ love for Romilda changes; what started as a passing fancy becomes a serious passion and eventually Xerxes begins pacing the court, aching, as he says, with desire. When he eventually realises that Romilda does not, and cannot, love him, his mood darkens. And as he does so, the weather gets worse. … Xerxes continues to deteriorate. By Act Three he is prepared to force Romilda into marrying him.”
Sarah Lenton, writing for ENO Baylis on the ENO production of Xerxes, 2002

SINGER’S VIEW: “If you want to see how to act Xerxes, grab a dvd of the ENO production starring Ann Murray. It starts with the walk, a male walk wide enough to be masculine, yet elegant enough to be regal. Then she uses it to make the most perfectly timed exits; three steps backwards, turn and exit at exactly the right moment. I’ve shamelessly used her walk technique to great effect, as not only does it make you look right, but it gives you a solid grounding to sing from. Handel’s arias are long tests of flexibility and stamina, hopelessly so if you are not 100% grounded!”
Mezzo soprano Kirsty Young, who admits she has never sung the role of Xerxes but admires any woman who can!

AND FINALLY: “The contexture of this drama is so very easy, that it wou'd be troubling the reader to give him a long argument to explain it. Some indications, at the temerity of Xerxes (such as his being deeply mov’d of a plane tree, and the building of the historic bridge over the Hellspont to unite Africa and Asia) are the basis of the story; the rest is fiction.”
G. F. Handel

© 2004 Kirsty Young
Internet rights 2004 OperaTalent