This co-production by the
Manitoba Chamber Orchestra and Manitoba Opera brought 17th century English
baroque composer Henry Purcell’s Dido and Aeneas to the stage, along
with a selection of his other solo works and with works by Tallis and
Handel.
The 50-minute Dido and Aeneas is heralded by many as the very first
English language opera and, despite the lack of costumes or sets, it leapt to life before our
eyes. This matchless ensemble was a joy from beginning to end. It was
incredible to discover that while each splendid soloist was truly unique,
possessing a timbre, expression and tone all their own, they combined as a
chorus into a superbly blended unit. Taylor moved seamlessly from conductor to
countertenor soloist (in the role of the evil Sorceress.) He led an
accomplished seven-piece baroque orchestra (including lute) with a subtle
touch, resulting in an impressively authentic rendition.
Soprano Noemi Kiss as Dido, Queen of Carthage, was in fine voice, sculpting
deep feeling into her phrases, with the lightest of vibrato — suited to the
era. We truly believed her when she sang of her predicament, her growing love
for Aeneas. The famous aria/lament, “When I am laid in earth” was
positively heart-wrenching as “remember me” hung in the air hauntingly,
ensuring that we would.
Grace Davidson as Belinda, in whom Dido confides, brought a refreshing
innocence to her role, with a lovely clarity of voice only curiously tinged
with a somewhat lisping “s,” most noticeable in “Thanks to these lonesome
vales …”
Aeneas was fittingly tall, dark and handsome with British-Canadian baritone
Alexander Dobson truly living the part. Moving with dramatic conviction, he
wooed Dido with his impressive range — a delightfully rich low register and
surprisingly sweet ease up top as well. His flawless enunciation made the
lyrics jump off the stage.
Taylor transformed himself from conductor to Sorceress by unleashing his mop
of wavy hair and adopting a wild-eyed facial expression. With deliberation and
intense audacity, he put forth his distinctive voice in a spotless soprano
range, with timbre and texture that are purely Taylor. His divinely voiced
cohorts, witches Meara Conway, soprano and Meg Bragle, mezzo were deliciously
conniving, chuckling over their conspiracy.
Agnes Zsigovics as the Second Woman brought the same ringing tone she
employed in her earlier solo, “Pilgrim’s Home” from Handel’s
Theodora. Her clean, assertive style sets her apart.
Tenor Benjamin Butterfield had but a cameo role as the sailor in the
production, but how he milked it! With true nautical spirit, he urged his
colleagues on with smiling singing and plenty of hand rubbing. Fortunately, we
had another opportunity to hear this peerless artist in “Total Eclipse”
from Handel’s Samson in the first half of the program. We were
immediately struck by the ease and passion of his delivery and the dazzling
tone purity.
The epitome of control, the chorus ended this mesmerizing performance with a
gossamer sadness that left the audience silent — until they erupted into a
much-deserved standing ovation.
Gwenda Nemerofsky
image=http://www.operatoday.com/Henry_Purcell_by_John_Closterman.png
image_description=Henry Purcell by John Closterman
product=yes
product_title=Henry Purcell: Dido Aeneas
product_by=Theatre of Early Music and Manitoba Opera/Manitoba Chamber Orchestra, Westminster United Church, Winnipeg, February 7-8
product_id=Above: Henry Purcell by John Closterman