High style and ample substance were equally on dazzling display in the new production of Francesco Cavalli’s La Calisto at the Alice Busch Opera Theatre.
From the gender bending casting to the shifting, neon-lined geometric settings to the vibrant colors to the spectacular costumes, has this operatic rarity ever looked or sounded this great? Time was, Glimmerglass used to dust off such older pieces and stage them with some regularity, but not in recent seasons. The audience response to the high quality of La Calisto may just prompt a renewed interest in refreshing such neglected works.
Artistic and General Director Rob Ainsley, who also conducted, penned a program note that described the piece’s inception and its association with the Venice Carnivale celebration. It was meant to be a festive entertainment, and one that spanned four hours or more. It featured mythical characters that would have been recognized by the public, as they (mostly) comically behave badly, and it was staged using the most elaborate and advanced theatrical machinery of the day. In short, it was intended to amaze and bewitch its viewers.
In consideration of recreating this ‘shock and awe’ approach of its origins, Ainsley and company have pared it to about half of its original length, tautening it with care and precision, and have adapted the staging presentation to glisten and surprise viewed through a contemporary lens. Mission accomplished.
Charlie Corcoran’s atmospheric set designs are deceptively minimalistic, and managed to suggest any number of fantastical locations with hip, trendy, and geometrical pictures. The economy of means did nothing to stifle surprising results, such as the small square trap door that was opened so that a stream of water could magically pour down from the loft to create a hidden pool to slake Calisto’s thirst. Or the stunning white moon that loomed over the raked triangular playing space. Or the colorful cross fades of the neon edges of said triangle, and the vertical shafts of light that framed the space. Or the trees and other imagery that periodically flooded the upstage wall that seemed a splendid visual mash-up of Robert Wilson, Henri Matisse, and Marsden Hartley in their vague, haunting presence.
Carlos Sotos’ costumes were almost beyond praise for their alluring invention. Lavish and sparkling, svelte and personality-defining, sexy and suave, these were ancient gods as might be interpreted for the Met Gala. I could seriously see Billy Porter wearing any one of these over-the-top numbers on the red carpet. Mr. Sotos achieved a very effective costume goof with Jove’s appearance disguised as Diana. The actress cast as Diana plays them both of course, but when she comes out as Jove’s disguise there are some giddily butch tweaks to her appearance that caused much merriment, not least of which was her wig/headdress, courtesy of hair and make-up designer Tom Watson whose imagination throughout seemed to have been prompted by a dizzying sugar high. Amith Chandrashaker’s lighting design ably set the varying moods, intensified the comedy, and deepened the pathos as required, with well-judged color washes, area definitions, and specials.
Maestro Ainsley led the musical forces from the keyboard with inspired precision and consummate command. Having devised the effective orchestration which approximated the period sound with the addition of some sensitive wind and brass parts, he also headed the masterful continuo group which ably supported singers and propelled the action. The Festival Orchestra responded with luminous music-making. By any reckoning the cast was stellar.
In the title role, lovely Emilie Kealani was a perfect fit for the innocent Calisto. Her floated, lyric soprano was deployed with variety and well-turned phrases, and when called upon, she proved she had just a pleasant hint of steel that could color the more urgent outbursts. As Diana, Taylor Raven was a thrilling contrast, her large, driving mezzo-soprano and physical stature, creating an imperious presence worthy of a goddess, her powerful singing filling the house with easy grace. When Ms. Raven assumed the disguise of Jove-as-Diana, she suggested a hint of masculinity by hardening her delivery and created a clever impersonation, indeed.
Mezzo-soprano Eve Gigliotti, who had been such a droll Ruth in The Pirates of Penzance, here was a force of nature as the wronged wife, Juno. Ms. Gigliotti hurled out phrase after phrase of such fiercely incandescent proclamations, they were probably heard in Albany. Her polished, glorious mezzo was also capable of rapid-fire coloratura of the first order. Baritone Craig Irvin brought the same authority, stage savvy, and manly, booming vocalizing to his effective Jove, as he had to the Pirate King earlier in the weekend. Schyler Vargas, attractive in form and voice plied his warm, ingratiating and insinuating baritone to terrific effect as a sexy Mercury, unashamedly swiveling his hips as he oozed unctuously about the stage.
Winona Martin’s sizable, warm mezzo-soprano did admirable double duty, as a convincing, fiery Linfea and a solid turn as Destiny, both marked by a gleaming top and rich tonal appeal. Petite soprano Amanda Sheriff stole every scene she was in as the Young Satyr, dominating the action with her vibrant, sassy singing, and her animated, randy, suggestive gyrations. She tamed this joyous abandon to double effectively as Eternity. Even the smallest of roles were top notch: Sylvan for Cameron Rolling’s engaging bass-baritone; Fury 1 for Lauryn Davis’s gorgeous soprano; and Fury 2 for Xiao Xiao’s bright, full mezzo. Two singers were indisposed, and their covers went on seamlessly, a testament to the success of the company’s Young Artists Program.
The appealing tenor Seiyoung Kim brought a bright, pointed line to enact a secure, amusingly petulant Pan, and this versatile performer also created a solid impression as Nature. SarahAnn Duffy had the larger challenge, jumping in with both feet to contribute a major accomplishment in the key role of Endymion. Ms. Duffy’s mezzo was liquid gold, and her well-shaped sound was even, effortless, firm, and shining from top to bottom. Her extended, deeply felt scenes, especially the meltingly delivered duet with Ms. Taylor’s Diana, were real highpoints in a uniformly first rate performance.
Stage director Mo Zhou brought boundless imagination to the project and imbued it with a well-judged laser focus, fine eye to detail, and virtuosic control. But while it was seamlessly coordinated, her cunning bravura actually inspired the gifted performers to give all they had in highly personalized, seemingly spontaneous solos and interactions. Ms. Zhou’s commendable use of the space, and her unerring ability to balance the comic and serious opportunities in this timeless tale, was greatly aided by Eric Sean Fogel’s fluid, undulating, artful choreography that defied categorization but informed every mood and scene. The corps of five androgynous dancers (named below) were beautifully poised, supple, and focused.
There is so much in this very enchanting piece that resonates still in our own time: The aspirational transformation from chaos to order, the fluidity of gender roles, the importance of life choices, the comeuppance that Karma brings, the quest for redemption, these could be ripped from today’s headlines. The fact that a piece written in 1651 can still entertain and educate in 2024 is both a testament to Signor Cavalli’s genius, and to the immense artistic achievement by Mr. Ainsley and this summer’s consistently rewarding Glimmerglass Festival.
James Sohre
La Calisto
Music by Franceso Cavalli
Libretto by Giovanni Faustini
Calisto: Emilie Kealani; Diana/Jove-as-Diana: Taylor Raven; Endymion: SarahAnn Duffy; Juno: Eve Gigliotti; Jove: Craig Irvin; Mercury: Schyler Vargas; Linfea/Destiny: Winona Martin; Young Satyr/Eternity: Amanda Sheriff; Pan/Nature: Seiyoung Kim; Sylvan: Cameron Rolling; Fury 1: Lauryn Davis; Fury 2: Xiao Xiao; Dancers: Kailee Reagan Brandt, Peter Murphy, Blaise Rossman, Emma Sucato, Truman Tinius; Conductor: Rob Ainsley; Director: Mo Zhou; Set Design: Charlie Corcoran; Costume Design: Carlos Soto; Lighting Design: Amith Chandrashaker; Hair and Makeup Design: Tom Watson; Choreographer: Choreographer: Eric Sean Fogel
Top photo by Sofia Negron.