English concert

Shiny, raunchy, heartless spectacular: Platée, at Garsington, reviewed

Fast times on Mount Olympus. Jupiter has been shagging around again and now his wife Juno has bailed on their hit reality show Jupiter & Juno, storming off set in a thundercloud of gold lamé and wheeled luggage. The producers are freaking out. Production runners scamper in all directions until Bacchus sends out to Starbucks and they all sit down to brainstorm a route out of ratings Hades. Meanwhile the luxury villa lies silent, its jacuzzi empty and the fake grass scattered with cardboard coffee trays. Cupid, it turns out, might have a plan – she knows a wannabe called Platée and, hilariously, she’s a total minger. Garsington’s new Platée

You’ll shrug where you should marvel: Garsington’s Amadigi reviewed

When you think of Handel’s Amadigi (in so far as anyone thinks about the composer’s rarely staged, also-ran London score at all) it’s as a magic-opera. Sorcerers and sorceresses do battle in a fantasy land not found on any map. The stage directions alone are enough to stir the commercial loins of any 18th-century impresario. Enchanted palaces are ‘split asunder’, caves transformed into ‘beautiful palaces’, monsters ‘ascend from the bowels of the Earth’ and a chariot ‘descends covered in clouds’. All of which originally took place in full view of an audience so beguiled by illusion that even the Georgians’ rather more informal attitude to health and safety was tested,