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Day two of the festival and conference could have been called a Manic Monday, except that it was Friday. MCANA members had a 10 AM session on Baroque opera in general and the festival’s production of Handel’s “Almira” in particular, followed by lunch, followed by a Q and A session on early music. Both of those sessions were interesting enough to deserve their own blog posts, so I won’t go into detail on them here.
Ms. Beyer was particularly stunning in von Biber’s “Sonata violino solo representativa,” in which the soloist is called upon to imitate a variety of birds and beats (including Musketeers!) as was Francesco Romano in a Toccata from Johannes Heironymous Kapsberger's 1640 "Libro Quarto", but all four members impressed me with their skill. I’m told Ms. Fontana, who worked with a harpsichord stacked on top of an organ console, thereby enabling her to elegantly play both at once, had a terrific solo of her own towards the end of the program. Alas, I missed it, because I had to dash across town to the Cutler Majestic Theater to make the 7 PM curtain of Handel’s “Almira.”
|Almira and ladies in waiting|
A four-hour youthful Handel opera might sound like a bit of a slog but in BEMF’s production it was anything but. Director Gilbert Blin and music directors Paul O’Dette and Stephen Stubbs treated both the music and the audience with respect. The production was a scrupulously historic re-creation of the original, complete with forced-perspective sets that looked exactly like the ones I’ve always seen in the history books, period dances, and a historically appropriate acting style that relied on precisely choreographed gestures (hands spread wide to appeal, had extended and finger ranged to admonish/repel, etc.).
And it worked, both as music and drama. Every performer was thoroughly invested in his or her character, each was perfectly cast, and every one sang beautifully.
Ms. Hofbauer and Mr. Balzer were exceptional all the way through. Amanda Forsythe, as Princess Edilia, had what must be the best revenge aria ever in the second act. Jason McStoots got his share of laughs as the comic servant Tabarco. Others in the uniformly fine cast were Christian Immler as the buffoonish Consalvo, Zachary Wilder as his social climber son Osman, Tyler Duncan as the disguised King of Mauretania (who seems to be on board only to make the triple betrothal at the end possible), and Valerie Vinzant as Princess Bellante (ditto).
|Áine Ní Dhroighneáin|
And on that note, I reeled (puns intended) into bed, another day of remarkable music in the offing.