Les Arts Florissants' Actéon/Dido and Aeneas
November 11, 2017
* Notes *
This year a second obscure French Baroque opera was seen at Cal Performances last Thursday, this time from Les Arts Florissants (pictured).
Marc-Antoine Charpentier's Actéon, only rediscovered in 1945, is the first half of a show being toured by the French based Baroque ensemble whose name comes from a chamber opera by the very same composer. The piece is perfectly elegant and was played adroitly by a small, tight group of seven instrumentalists including conductor William Christie on harpsichord. I particularly liked the oboist, Pier Luigi Fabretti, whose notes sparkled like those of a woodland bird.
The seven singers were equally exquisite, and I was impressed that baritone Renato Dolcini (Chasseur) managed a convincing tambourine. The dusky, sensuous sound of mezzo-soprano Lea Desandre as Junon is completely at odds with her spare frame and a beautiful contrast with tenor Reinoud Van Mechelen's pure clarity in the title role of Actéon. Soprano Elodie Fonnard was bright and light as Diane.
The second half of the performance was Purcell's Dido and Aeneas. Both the leads, Desandre as Dido and Dolcini as Aeneas, sang beautifully. The baritone, being the only one, also had to sing with the chorus and would take off his jacket to do so and perhaps overdid it with the acting to distinguish his characters. Desandre, on the other hand, was more understated. Her "When I am laid in Earth" was nothing short of gorgeous.
Most of the singers are French or Italian, and not native English speakers, but this was only noticeable in a few cases. Unsurprisingly, Scottish soprano Rachel Redmond (Belinda) was the most easily understood. Her voice gleams but has a rich and mellow tones to it.
Sophie Daneman's direction for both operas was uncluttered and simple, but effective. The scene in the sorceress' cave was certainly the funniest as the naughty spirits teased the instrumentalists, especially William Christie himself.
* Tattling *
My Cal Performances subscription for the three Baroque opera performances this season has me in the second row, which I did not realize until I found my seat on Thursday evening. I was able to see the singers almost a little bit too well since there was no one in front of me.