Opera review: Rarely seen Baroque opera ‘Dido and Aeneas’ staged by Sarasota Opera
Sarasota Opera’s production of “Dido and Aeneas,” which opened Sunday, is one to relish as it lingers in your memory. Baroque opera in live performance is rare these days, and one presented with such detail and musical artistry is outright delicious.
“Dido and Aeneas” is the only opera by 17th century British composer Henry Purcell. The score is long on stately melody and high-minded concepts. Even the plot is considered an allegory warning of unwitting faithlessness in the context of the Anglican-Catholic strife of its time.
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The core of the story is that of the widowed Dido feeling a revival of desire upon meeting the visiting warrior Aeneas. She loves, only to lose again when Aeneas is persuaded to sail away by a deceitful sorceress and her followers.
The women are the focal point and have numerous opportunities to shine. As Dido’s maiden Belinda, soprano Lindsay Ohse is a steady thread from beginning to end. She confidently leads the chorus urging Dido to open up to Aeneas and is there at Dido’s death.
Yes, spoiler alert, she dies in the end, but that shouldn’t be a big surprise. The lament of Dido’s final aria, “When I am laid in earth,” has enjoyed popular fame for more than 300 years as a peaceful resignation.
Lisa Chavez captures the tragic nature of Dido with a richly nuanced voice that touches far corners of the heart. The fragility of grief reaching for love again comes through despite her majestic presence. Then facing loss yet again, she steels herself and delivers that unforgettable lament, searing in its compelling simplicity.
Despite a uniquely god-like stature in his warrior garb, Andrew Surrena does only so much with Aeneas. He is not given much to work with by Purcell, but he sings heroically and plays the part well.
Surrena portrays the conflict of loving yet feeling compelled to leave. This is notable in the scene with Kara Morgan, who also, makes a good impression as the witchy spirit delivering false news to Aeneas in the guise of the god Mercury.
Too bad that Aeneas is surrounded by more interesting characters such as the sorceress and her witches, plotting the demise of Carthage. Sorceress Annie Chester sings a good threat surrounded by witches Kathryn Domyan and Abigail Raiford.
These three, as well as a chorus of eight who doubled earlier as Dido’s courtiers, are dressed in flowing robes of multiple muted colors. Their choreography makes the most of twirling and flowing fabric in a witches dance. Solos, trio and chorus are gifted with a mellifluous maniac laughing pattern and some juicy melismatic singing.
Stage director Martha Collins matches era-appropriate behavior and courtly dance with a more modern flow and energy. The bare cynicism of the sailor Kevin Harvey’s ditty urging his buddies to lie to the loose ladies of the port seems modern enough. Tell them you’ll return when you know you won’t.
The production design team of Howard Tvsi Kaplan, Ken Yunker, and Kellen Eason have perfected the art of historic accuracy, vivid detail and imagination in their work together.
Jesse Martins conducts the Baroque string ensemble with continuo in the pit. This is not a bombastic score, but the lift and ebullience of Baroque music is exceptionally delivered.
‘Dido and Aeneas’
By Henry Purcell. Conducted by Jesse Martins. Directed by Martha Collins. Reviewed April 11, Sarasota Opera House, 61 N. Pineapple Ave., Sarasota. Through April 25. A recording will be available for home streaming in May. 941-328-1300; sarasotaopera.org