Opera For Everyone Podcast Summary: Ep. 133 – Semele by Handel
Release Date: August 10, 2025
Host: Pat Wright
Guest Co-host: Kathleen Vanderwil
Airs: Sundays, 9:00 a.m. - 11:00 a.m. on 89.1 KHOL, Jackson, Wyoming
Cover Artwork: Rosie Brooks (rosiebrooks.com)
Introduction
In Episode 133 of Opera For Everyone, host Pat Wright is joined once again by Kathleen Vanderwil to delve into Semele, a baroque opera by George Friedrich Handel. Diverging from their usual focus on Italian operas, this episode explores Handel’s English Oratorio/Opera, offering listeners an accessible and engaging breakdown of its intricate plot, rich character dynamics, and musical brilliance.
Pat Wright opens the discussion by highlighting the unique nature of Semele:
"[00:35] Pat Wright: ...this is a baroque opera by George Friedrich Handel and it's not about Romeo and Juliet. So it's a real change for us."
Background and Context
Semele premiered in London in 1744 and stands as one of Handel's most renowned oratorios, alongside Messiah. Unlike the Italian operas Handel is typically associated with, Semele is often performed as an English opera or oratorio. This shift was partly due to changing audience tastes and economic considerations, as oratorios required fewer resources—no extravagant costumes or sets were needed.
Kathleen Vanderwil provides insight into Handel’s prolific output and his transition from opera to oratorios:
"[02:29] Kathleen Vanderwil: ...handel wrote a great many operas, over 40 operas. But after 1841 [sic], he wrote no further operas. But he wrote many other pieces of music, including many oratorios, and this is one."
Pat adds an economic perspective:
"[02:40] Pat Wright: ...it might be honestly more economical to do an oratorio. You don't have to spend as much money on costumes and sets."
Plot Overview
Semele is set in Thebes and revolves around the divine and mortal interactions that lead to tragedy and birth. The primary characters include:
- Cadmus: King of Thebes and father of Semele.
- Semele: Cadmus’s daughter, torn between her duty and her divine lover.
- Athamas: A young nobleman betrothed to Semele.
- Aino: Semele’s sister, also in love with Athamas.
- Jove (Zeus): King of the gods and Semele’s divine lover.
- Juno (Hera): Queen of the gods, jealous of Semele.
- Somnus: God of sleep.
Act I: The Favorable Union and Discord
The opera begins with Cadmus and the chorus celebrating favorable omens for Semele’s marriage to Athamas, blessed by Juno, the goddess of marriage.
"[05:28] Pat Wright: ...the chorus of priests as they are excited by the lucky omens that bless their rites."
However, Semele harbors reservations about the marriage, feeling torn between her father’s wishes and her own desires, influenced by Jove.
"[09:18] Pat Wright: ...She is thinking about her real life options now."
Aino expresses her distress, feeling undone by Semele’s wavering, adding another layer of conflict.
"[13:12] Kathleen Vanderwil: ...there are lots of gods and goddesses that are mentioned here with various backstories and myths of their own."
As omens turn unfavorable with thunder indicating Jove’s displeasure, Juno’s scheming becomes apparent.
Act II: Juno’s Quest and the Sibling Reunion
Juno, displeased with Semele, dispatches her messenger Iris to locate Semele. Their quest involves overcoming obstacles, including dragons guarded by Somnus, the God of sleep.
"[54:33] Pat Wright: No, she had to work really hard to find them."
Parallel to this, Semele enjoys her divine union with Jove but begins to feel unfulfilled, longing for the mortal connection she left behind. This creates tension in their relationship, highlighting themes of immortality versus mortality.
"[10:38] Pat Wright: ...She is addicted to him. She is entranced by him."
In Act II, the reunion of Semele with her sister Aino introduces further emotional depth, as Aino grapples with jealousy and her own unrequited love for Athamas.
"[27:41] Pat Wright: ...we get to hear a little bit about Athamas."
Musical Analysis
Handel employs several baroque musical techniques, most notably the da capo aria, allowing characters to express and revisit their emotions through repetition and variation.
"[29:08] Kathleen Vanderwil: ...da capo means to go back, like doing the ABA structure."
The chorus plays a significant role in advancing the narrative, reflecting the communal sentiments and divine interventions, akin to their function in Greek plays.
"[25:53] Kathleen Vanderwil: ...the chorus as well, who can alternately represent the common people or just sort of everybody who isn't one of the main characters."
Character Dynamics and Themes
The opera explores complex themes such as:
- Love and Jealousy: Semele’s love for Jove and her arranged marriage to Athamas create a love triangle exacerbated by Aino’s affection for Athamas.
- Divine Intervention: Juno’s manipulations and Jove’s capricious nature drive the plot towards its tragic conclusion.
- Mortality vs. Immortality: Semele’s mortal limitations contrast with Jove’s divine immortality, highlighting existential dilemmas.
Kathleen Vanderwil draws parallels between Semele and other myths, such as Cupid and Psyche, and fairy tales like Snow White, emphasizing the timeless nature of these narratives.
"[38:21] Kathleen Vanderwil: ...it sounds very similar to the Puck... something like a farce."
Climax and Conclusion
The tragic culmination occurs when Semele, upon pressing Jove to reveal his true divine form, is consumed by his lightning—fulfilling an irrevocable oath that leads to her death. However, her demise gives birth to Bacchus (Dionysus), symbolizing joy and the subsequent age of excess and ecstasy.
"[112:10] Kathleen Vanderwil: ...if I persist in gazing, no object sure before was ever half so pleasing."
The final act ties together the consequences of divine whims and mortal sufferings, leaving listeners with a bittersweet reflection on the intertwining of human desires and godly interventions.
Reflections and Insights
Throughout the episode, Pat and Kathleen offer keen insights into Handel’s compositional choices, the libretto’s origins, and the enduring relevance of Semele. They encourage listeners to explore Handel’s less-performed operas, advocating for supporting live performances to sustain this rich art form.
"[90:57] Pat Wright: ...this is not unusual for Handel's works. This is very much of a piece with what he was creating then."
Additionally, Kathleen highlights the nuanced portrayal of Semele as a strong, albeit tragic, female character who dares to confront divine authority, adding layers to the opera’s emotional landscape.
"[75:04] Kathleen Vanderwil: ...she plants her foot and says, I am going to fight with you."
Notable Quotes
- Pat Wright [00:35]: "This is a baroque opera by George Friedrich Handel and it's not about Romeo and Juliet."
- Kathleen Vanderwil [02:29]: "Handel wrote a great many operas, over 40 operas. But after 1841, he wrote no further operas."
- Kathleen Vanderwil [13:12]: "There are lots of gods and goddesses that are mentioned here with various backstories and myths of their own."
- Pat Wright [29:22]: "Da capo."
- Kathleen Vanderwil [75:04]: "She plants her foot and says, I am going to fight with you."
- Pat Wright [90:57]: "This is not unusual for Handel's works."
Conclusion
Episode 133 of Opera For Everyone masterfully navigates the intricate narrative and musical composition of Handel’s Semele, providing listeners with a comprehensive understanding of its dramatic and thematic elements. Through insightful discussion and detailed plot analysis, Pat Wright and Kathleen Vanderwil illuminate why this opera remains a significant, albeit less frequently performed, masterpiece in Handel’s repertoire.
Listeners are encouraged to support live opera performances and explore Handel’s diverse body of work to fully appreciate the depth and beauty of baroque opera.
Stay Tuned: The episode concludes by inviting listeners to subscribe, rate, and comment on the Opera For Everyone podcast, reinforcing the mission to make opera accessible and enjoyable for all.
"[121:19] Pat Wright: Our mission is to make opera enjoyable for everyone because we believe opera is for everyone."
Note: This summary encapsulates the key points and discussions from the podcast episode, enriched with notable quotes and structured to provide a clear and engaging overview for those who haven't listened to the show.