Dido and Aeneas at Westminster United Church, presented by Manitoba Opera and the Manitoba Chamber Orchestra, Feb. 7, 2012
Reviewed by Stephanie Adamov
Opera is certainly my newest found appreciation in theatre performance. I can’t say that I was the most eager audience member when I started accompanying my grandparents to operas at the Concert Hall. Reluctantly, I’d hold their hand and attempt to catch my breath as we approached never ending, red-carpeted stairs. I found that the shows were long, I couldn’t understand the words (nor was I able to read the surtitles) and I couldn’t see the performers sing while sitting in a booster seat (or sometimes phone books) among the sea of silver hair.
These were lengthy, exasperating endeavours. I refused to believe I would “learn to love” these events. Reluctantly, I had a sudden change of heart after hearing a family friend sing. I remember admitting after the concert to my grandparents that I had an interest in taking singing lessons. I had highly romanticized ideas of where my choral career would take me, blissfully unaware of the time, dedication and practice it would take until I became the next Julie Andrews.
Attending Dido and Aeneas Tuesday night stirred a realization of the transformation I’ve made in my career as an audience member. In order to guide me through some of the music, I invited a recent graduate of the University of Manitoba with a bachelor’s degree in vocal performance. Since the event was an opera in concert, it was unique and I was grateful I had someone to help decipher the experience.
Daniel Taylor before his transformation; photo by Marie-Reine Mattera
The Manitoba Opera joined forces with the Manitoba Chamber Orchestra to present the Theatre of Early Music. Aimed at interpreting and performing magnificent yet neglected works, the group is led by artistic director and conductor Daniel Taylor. Presented in two parts, the first part featured several works by Henry Purcell (though the program was different from what was printed) and the second part of the program was the Purcell opera Dido and Aeneas.
Entering and exiting through doors on either side of the altar at the 120-year-old Westminster United Church created a revolving door effect as the performers sang through the first portion of the program. For Dido and Aeneas, all the soloists were onstage and stepped forward when they sang.
Daniel Taylor was an integral element of this concert. Not only was he the maestro in conducting the musicians and singers, but he also had a theatrical role as a counter-tenor: when he let his locks down, he transformed to become the Sorceress that conducts the fate of Dido. Accompanied by the meek and mild but vocally pronounced Grace Davidson as Belinda, sorrowful Dido, played by Noemi Kiss, believes that marrying the Trojan Aeneas may not work out well. The chorus triumphantly consoles her saying “when monarchs unite, how happy their state.” Eventually Dido agrees and accepts Aeneas’ proposal.
Aeneas, portrayed by Alexander Dobson, might have benefitted performance-wise through better movement and body positioning. The Trojan soldier walked ominously about the stage. His posture most certainly aided and projected the desired sound for his voice, but in playing a gallant soldier, it seemed his chest and shoulders needed to be awkwardly angled out into the audience.
Daniel Taylor turns with his hair down and suddenly, the evil Sorceress enters with her companions’ plans for the demise of Carthage and its queen. She tricks Aeneas into leaving Dido to pursue the ruined Troy and to “waste no more in Love’s delights.”
Benjamin Butterfield shines center stage as the Sailor, urging young lads to relieve their “anchors from weighing” and to visit the “nymphs ashore.” Butterfield brought impromptu bravura to the piece and swaggered as he sang. He and his character add comic relief before the detrimental confrontation of Dido and Aeneas in the final scene.
The opera in concert allowed for the music and voices to be unveiled in minimalist presentation by not distracting the audience through the aesthetic of costumes, dance, dialogue and sets. The opera contained only the musical movements and required no dialogue.
However, since the piece was being presented as a part of Manitoba Opera’s season, I believe that more attention to expression and movement would improve the overall performance. The cross over between singing and performing needs examination.
It truly was a unique experience to hear music in the beautiful acoustic environment of the Westminster United Church.
Dido & Aeneas presented by Manitoba Opera and the Manitoba Chamber Orchestra at Westminster United Church, 745 Westminster Avenue.
The Conductor is also a Sorceress
Columns
Dido and Aeneas at Westminster United Church, presented by Manitoba Opera and the Manitoba Chamber Orchestra, Feb. 7, 2012
Reviewed by Stephanie Adamov
Opera is certainly my newest found appreciation in theatre performance. I can’t say that I was the most eager audience member when I started accompanying my grandparents to operas at the Concert Hall. Reluctantly, I’d hold their hand and attempt to catch my breath as we approached never ending, red-carpeted stairs. I found that the shows were long, I couldn’t understand the words (nor was I able to read the surtitles) and I couldn’t see the performers sing while sitting in a booster seat (or sometimes phone books) among the sea of silver hair.
These were lengthy, exasperating endeavours. I refused to believe I would “learn to love” these events. Reluctantly, I had a sudden change of heart after hearing a family friend sing. I remember admitting after the concert to my grandparents that I had an interest in taking singing lessons. I had highly romanticized ideas of where my choral career would take me, blissfully unaware of the time, dedication and practice it would take until I became the next Julie Andrews.
Attending Dido and Aeneas Tuesday night stirred a realization of the transformation I’ve made in my career as an audience member. In order to guide me through some of the music, I invited a recent graduate of the University of Manitoba with a bachelor’s degree in vocal performance. Since the event was an opera in concert, it was unique and I was grateful I had someone to help decipher the experience.
Daniel Taylor before his transformation; photo by Marie-Reine Mattera
The Manitoba Opera joined forces with the Manitoba Chamber Orchestra to present the Theatre of Early Music. Aimed at interpreting and performing magnificent yet neglected works, the group is led by artistic director and conductor Daniel Taylor. Presented in two parts, the first part featured several works by Henry Purcell (though the program was different from what was printed) and the second part of the program was the Purcell opera Dido and Aeneas.
Entering and exiting through doors on either side of the altar at the 120-year-old Westminster United Church created a revolving door effect as the performers sang through the first portion of the program. For Dido and Aeneas, all the soloists were onstage and stepped forward when they sang.
Daniel Taylor was an integral element of this concert. Not only was he the maestro in conducting the musicians and singers, but he also had a theatrical role as a counter-tenor: when he let his locks down, he transformed to become the Sorceress that conducts the fate of Dido. Accompanied by the meek and mild but vocally pronounced Grace Davidson as Belinda, sorrowful Dido, played by Noemi Kiss, believes that marrying the Trojan Aeneas may not work out well. The chorus triumphantly consoles her saying “when monarchs unite, how happy their state.” Eventually Dido agrees and accepts Aeneas’ proposal.
Aeneas, portrayed by Alexander Dobson, might have benefitted performance-wise through better movement and body positioning. The Trojan soldier walked ominously about the stage. His posture most certainly aided and projected the desired sound for his voice, but in playing a gallant soldier, it seemed his chest and shoulders needed to be awkwardly angled out into the audience.
Daniel Taylor turns with his hair down and suddenly, the evil Sorceress enters with her companions’ plans for the demise of Carthage and its queen. She tricks Aeneas into leaving Dido to pursue the ruined Troy and to “waste no more in Love’s delights.”
Benjamin Butterfield shines center stage as the Sailor, urging young lads to relieve their “anchors from weighing” and to visit the “nymphs ashore.” Butterfield brought impromptu bravura to the piece and swaggered as he sang. He and his character add comic relief before the detrimental confrontation of Dido and Aeneas in the final scene.
The opera in concert allowed for the music and voices to be unveiled in minimalist presentation by not distracting the audience through the aesthetic of costumes, dance, dialogue and sets. The opera contained only the musical movements and required no dialogue.
However, since the piece was being presented as a part of Manitoba Opera’s season, I believe that more attention to expression and movement would improve the overall performance. The cross over between singing and performing needs examination.
It truly was a unique experience to hear music in the beautiful acoustic environment of the Westminster United Church.
Dido & Aeneas presented by Manitoba Opera and the Manitoba Chamber Orchestra at Westminster United Church, 745 Westminster Avenue.