Read on to discover 7 colourfully imaginative pieces inspired by ancient mythology, as chosen by operatic director Thomas Guthrie...
Pieces inspired by ancient mythology... Handel Apollo e Dafne
Apollo and Dafne, which tells of a god falling passionately and unrequitedly in love with a nymph, is one of my all-time favourite myths. On some level you could see it as a rape myth; Apollo is so convinced that he wants to be with Dafne that he just doesn’t give up. I see it as a story about consent; about how relationships can polarise. And what I love about Handel’s cantata is its humane, psychological portrayal of the myth: in his version, Apollo has a sincere and genuine love for Dafne.
Handel The Choice of Hercules
This myth, about the young Hercules who is offered the choice between a life of pleasure or one of hardship and honour, is quite narratively simple. But the way Handel sets it is so nuanced, generating a deep mythological sense of that archetypal question: what is a life well lived? In the version I’ve just directed for the London Handel Festival, it becomes a piece about parental decisions: how do we say to our children, ‘Turn off this iPad! Read this book!’? How do we choose the things that are going to give lifelong pleasure as opposed to easy wins? That tension is captured beautifully in the music.
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Monteverdi Il ritorno d’Ulisse in Patria
In my opinion, the whole of the Odyssey, on which this opera is based, is about the nature of home, and that journey we must take psychologically to reach a real sense of belonging. What I love about Monteverdi’s version is that he focuses on the most human bit of the myth: the long-term relationships between people. The way that he portrays Ulisse’s return to Penelope, who has lived under pressure of demand and stayed loyal and faithful all this time, is so direct, so clear and so heartbreaking.
Pieces inspired by ancient mythology... Monteverdi L’Orfeo
Orfeo’s journey into the underworld is full of symbolic resonance: you could see it as a search within oneself or as a confrontation with death and the bottomless pit of depression. Given that Orfeo uses the magic of music to be allowed into Hades, you could also read it as a statement about the power of the arts in moments of despair, when words fail to suffice. Monteverdi’s music embodies this latter theme, particularly in Orfeo’s Act 3 aria, ‘Possente spirto e formidabil nume’. It’s so beautiful, powerful and monumental that it forms the centre of the whole opera.
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Franck Psyché et Eros
The myth of Psyché and Eros is about the importance of trust and seeing your partner for who they really are: Eros falls madly in love with Psyché and the two have a relationship, but in total darkness because he has forbidden her to look at him. You could read this as a reflection of polarised relationships, but it is also a commentary on all relationships. Composers seem to hone in on that relevance to us, not least Franck. His symphonic poem feels like a romantic dream.
Handel Semele
Handel’s gorgeous opera tells the story of Semele’s love for the god Jupiter, who rescues his mortal lover from the threat of a loveless marriage, installing her in a magical mountaintop palace. Here he pays her regular visits in mortal form. But Semele, led to believe she can become immortal if she could only see Jupiter in all his godly glory, becomes greedy, refusing to make love to him until he promises to give her whatever she asks for. The myth elicits some of Handel’s most touching music, including the aria ‘Where’er ye walk’, in which Jupiter expresses his devotion.
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Pieces inspired by ancient mythology... Jonathan Dove The Monster in the Maze
I directed the UK premiere of The Monster in the Maze in 2015. Inspired by the myth of the minotaur, Alasdair Middleton’s libretto brings out themes of family relationships and growth – adolescents leaving home, facing their demons, returning transformed into adulthood. The monster, unseen and far more frightening because of it, blares horn-snorts through its nostrils. Jonathan Dove’s version ends happily, with the families reunited. It’s a radiant piece, brimming with wit and Mediterranean light.
Who is Thomas Guthrie?
Thomas Guthrie is a director, composer, fiddle player and baritone. He studied Classics at Cambridge University before pursuing vocal studies at the Royal Northern College of Music, eventually transitioning to directing. Since then, his productions have included Rossini’s The Barber of Seville at the Royal Opera House and Verdi’s Aida at the Liceu in Barcelona. But he is perhaps best defined by his stripped-down, actor-driven work, often involving puppetry. For the 2025 London Handel Festival he created an opera from two Handel works: the cantata Apollo e Dafne and the oratorio The Choice of Hercules. In August, he directs a day-to-night concert of Tavener’s The Veil of the Temple for the opening of the Edinburgh Festival.