SEEN AND HEARD INTERNATIONAL

Purcell, Dido and Aeneas; Handel, Acis and Galatea: Soloists, Orchestra of the Age of Enlightenment, The Royal Opera Extra Chorus/Christopher Hogwood, Royal Opera House, Covent Garden, London 8.4. 2009 (J-PJ)

Casts:

Belinda – Lucy Crowe
Dido – Sarah Connolly
Second Woman – Anita Watson
Aeneas – Lucas Meachem
Sorceress – Sara Fulgoni
First Witch – Eri Nakamura
Second Witch – Pumeza Matshikiza
Spirit – Iestyn Davies
Sailor – Ji-Min Park

Galatea – Danielle de Niese
Acis – Charles Workman
Damon – Paul Agnew
Polyphemus – Matthew Rose
Coridon – Ji-Min Park

Production:
Wayne McGregor (director and choreographer)
Hildegard Bechtler (designs)
Fotini Dimou (costumes)
Lucy Carter (lighting)


In this anniversary year, marking 350 years since Purcell’s birth and 250 years since Handel’s death, there are high expectations of the Royal Opera’s and Royal Ballet’s joint production of Dido and Aeneas and Acis and Galatea. Directed by the Royal Ballet’s resident choreographer Wayne McGregor, the double bill promises an exciting fusion of music, dance, drama and theatrical art. Unfortunately, that is not quite what we get.

There are two main problems here: firstly, McGregor attempts to pack too much into what are essentially small-scale, chamber operas which rely on their simplicity and intimacy for their expressive power. Secondly, he directs these works as balletic vehicles rather than as what they really are – sung operas with very little stage action.

Aeneas – Lucas Meachem and Dido – Sarah Connolly

In Dido and Aeneas, the spare, minimalist sets by Hildegard Bechtler recall a vague Middle Eastern landscape, and their scarred concrete modernism hints at Carthage’s ultimate destruction. But the appropriateness of the sets are countered by the costumes, which resemble classical Japanese clothing. This sense of disjointedness and confusion is exacerbated by the frequent and often unnecessary appearance of the dancers. Their curious drill and washing routine in the forest grove in Act II, for example, appears comic and bizarre. When there is call for dancers – as during the celebration of Dido’s and Aeneas’s betrothal at the end of the first act, or during the sailors’ departure in Act III, the choreography fails to support the music and stage action. Indeed, the ballet sequences in this production are more like add-ons than fully integrated features of the drama.

The quality of the singing is also mixed. Although the role of Aeneas is fairly limited, Lucas Meachem could invest it with more passion. He voices no real regret on being given his marching orders by the spirit, and he simply goes through the motions when bidding a final farewell to Dido. The chorus also sounds disappointingly tame. As witches, they are stiff and immobile, and the comic potential during the sailors’ scene is entirely lost. Fortunately, the musical standards are brightened by the principal female leads. Lucy Crowe gives a spirited performance as Belinda, and Sarah Connolly’s Dido exudes warmth and feeling. Her final lament is genuinely touching, and she receives sensitive support from the excellent Orchestra of the Age of Enlightenment under Christopher Hogwood.

Galatea – Danielle de Niese and Acis – Dancer Edward Watson
 

The flaws that emerge during Dido and Aeneas are also very much in evidence in Acis and Galatea. This time, the ballet dancers appear alongside the singers as their alter egos. Again, the choreography does not always reflect the sung text or the simultaneous actions of the singers, and the dancers quickly become more of an irritating distraction than an essential part of the theatrical experience.

Bechtler’s set designs firmly place the opera in its pastoral context, with a versatile temple ruin and pool, wooded clearing and rocky pasture, complete with stuffed deer and sheep. As in Dido and Aeneas, the curious costumes – a kind of Balkan peasant attire – undermine the opera’s sense of place, while Danielle de Niese’s plaited blonde wig (as Galatea) just looks ridiculous.

At least de Niese delivers the vocal goods. A little forced at times, her voice is mostly bright and assured. At the end, she dances impressively with the alter ego Acis, giving a glimpse of how a fully integrated music and ballet production might have worked. Charles Workman as Acis seems strained and rather flat in his delivery, in contrast to Paul Agnew’s more expressive Damon. The real revelation, however, is Matthew Rose in the role of the vengeful giant Polyphemus. His richness of tone, clarity and control really showcase what must be some of Handel’s finest writing for the bass voice. This time the Royal Opera Extra Chorus breathes life into their singing, and the playing by the Orchestra of the Age of Enlightenment is very strong. Hogwood keeps his band controlled but pacey throughout, allowing for the occasional virtuosic flourish, particularly from the woodwind and harpsichord.

John-Pierre Joyce

Remaining performancea are on 11^th, 15^th, 18^th, 20^th April 2009

Broadcasts:  BBC 4 Television 15^th May 2009 (Acis and Galatea) and 22^nd May 2009 (Dido and Aeneas); BBC Radio 20^th June 2009.

Pictures © Bill Cooper

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