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THE ROYAL OPERA

Music Director

Sir Antonio Pappano CVO

Director of Opera

Oliver Mears

Exceptional philanthropic support from

Royal Opera House Principals Julia And Hans Rausing

Generous philanthropic support from Sir Mick and Lady Barbara Davis, The Foyle Foundation, The Estate of Mrs Gertrude Mary Looi, Charles Holloway, Crevan O’Grady and Jane McClenahan, Tina Taylor and The Patrons Of Covent Garden

Performance materials for Jephtha edited by Kenneth Nott

Published by Bärenreiter Verlag, Kassel

Performed by arrangement with Faber Music Ltd, London

Jephtha

ORATORIO IN THREE ACTS

21.11.2023 19:00

The 5th performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

This performance will run for approximately 3 hours with one interval.
ACT I
60 minutes
INTERVAL
25 minutes
ACT II
60 minutes
ACT III
35 minutes

GUIDANCE

Suitable for ages 8+

This production contains implied violence throughout. Strobe lighting is used at the start of Act II.

CREDITS

Company
The Royal Opera
Music
George Frideric Handel
Libretto
Thomas Morell
Director
Oliver Mears
Set Designer
Simon Lima Holdsworth
Costume Designer
Ilona Karas
Lighting Designer
Fabiana Piccioli
Movement Director
Anna Morrissey

CAST

Conductor
Laurence Cummings
Jephtha
Allan Clayton
Iphis
Jennifer France
Storgè
Alice Coote
Hamor
Cameron Shahbazi
Zebul
Brindley Sherratt
Angel
Kaelan O'Sullivan
Orchestra
Orchestra of the Royal Opera House
Concert Master
Sergey Levitin
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding

Dancers Emily Adams, Lauren Bridle, Hayley Chilvers, Eera Gupta, Sarah Hirsch, Hannah Shepherd, Dak Mashava, Gareth Mole, Sean Moss, Daniel Perry, Yasset Roldan

SYNOPSIS

For eighteen years, the Israelites have lived under the rule of the Ammonites.

ACT I

Zebul proposes that, faced with the loss of their religious and national identity, the Israelites must rebel. He advises that his warrior half-brother Jephtha be released from exile so that he may lead them to freedom. The Israelites vow to stop their sacrifices to the Ammonite gods and pledge themselves to Jehovah only.

Jephtha agrees to lead the Israelites into battle, on condition that he will rule as their leader should they emerge victorious. Storgè supports her husband’s mission, but will miss him in his absence. The couple’s only daughter, Iphis, is proposed to by her sweetheart Hamor; she agrees to the union – if he is willing to prove himself in battle while fighting under her father’s command. Hamor agrees, and the couple look to a happy future together in their liberated nation.

Jephtha vows to Jehovah that if he is granted victory, he shall either sacrifice to God the first living thing he sees when he gets home, or dedicate them to live eternally for God. Unaware of her husband’s vow, Storgè experiences feelings of foreboding and terror. She dreams of a great danger to Iphis, but her daughter dismisses the nightmares and comforts her mother.

When the Ammonites reject the Israelites’ peace terms, Jephtha orders them ready for battle. Together, they voice their belief that God will aid them in their struggle.

INTERVAL

ACT II

Iphis is greeted by her fiancé Hamor with the news that her father has triumphed over the Ammonites, seemingly with angelic assistance. Zebul praises Jephtha for achieving liberty for his people, but Jephtha declares the victory belongs to God.

Returning home, Jephtha is met by his daughter. He is horrified, as Iphis is the first living thing he sees. Remembering only half of his original vow and convinced he must sacrifice his daughter, he sends her away, lamenting that he would rather give his own life. Explaining the vow he has made to Zebul, Storgè and Hamor, Jephtha is met with their abject horror. In spite of their pleas, Jephtha maintains he has no choice.

Having heard of the vow, Iphis returns to her father, accepting that she must die by his hand. In anguish, Jephtha agrees. The Israelites remark on the mysteries of God’s will.

ACT III

Tormented, Jephtha prepares to make the sacrifice, praying that his daughter will be greeted into heaven after her death. Iphis accepts her fate, and the ritual of sacrifice begins – only to be interrupted at the last minute when Angel appears, declaring that Jephtha has remembered only half of his vow, and that a human sacrifice will not please God. Iphis will live, but must be dedicated to the service of the Lord, and remain a virgin. The Israelites praise God’s great mercy; Jephtha’s family are relieved. Hamor mourns that he can no longer take Iphis as his wife. The assembled Israelites celebrate God’s mercy.

PRODUCTION CREDITS

Music preparation
Richard Hetherington, Edward Reeve, Mark Packwood, Patrick Milne, Edward Batting, Susanna Stranders
Assistant Directors
Johannes Stepanek, Mathilda du Tillieul McNicol
Video Projections
Sander Loonen
Sound Effects
Sarah Angliss
Intimacy Coordinator
Kev McCurdy
Assistant to the Movement Director
Hayley Chilvers

Edward Reeve and Mathilda du Tillieul McNicol are Jette Parker Artists

THE ROYAL OPERA

Patron

The former Prince of Wales

Music Director

Sir Antonio Pappano CVO

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

DIGITAL CAST SHEETS

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is still our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

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