For almost two decades, Opera Lafayette has been known to DC opera fans as a period-based ensemble reviving long-forgotten gems of French Baroque and Rococo chamber opera repertoire. On Thursday night, the Kennedy Center’s Terrace Theater hosted Opera Lafayette’s most recent creation: its production of Marc-Antoine Charpentier’s pastorale/tragédie en musique Actéon.
Even though Actéon was the only number officially announced in Opera Lafayette’s playbill, in the first part of the evening we were treated to a selection of melodious excerpts from Les Fêtes de l’Hymen et de l’Amour, ou Les Dieux d’Egypte by Jean-Philippe Rameau.
The refined vocalism and a fresh, witty treatment that Rameau’s score received from a dynamic team of five young vocalists turned the performance of lengthy Baroque arias into a thrilling listening experience and served as a fitting prelude to the central piece of the program, Charpentier’s heartbreaking tale of beauty, vanity, transgression and transformation.
History does not reveal much about the première night of Actéon, which took place 329 years ago. However, the facts that Charpentier was commissioned to write this piece for the opening of the spring hunting season, that it premièred in the salon of his protectress, the Duchesse de Guise, and that it featured the composer himself in the title role, leaves little doubt that it was a beautiful performance, abundant in theatricality.
Even though before the intermission, Opera Lafayette’s artistic director and conductor Ryan Brown announced that Actéon was a staged production, the only thing that this staging happened to be truly abundant in was minimalism. The production offered no sets, except for a white circle center-stage and a few white chairs, scattered around in no particular pattern. The artists neither wore costumes nor shoes. Dressed in plain black clothes, they resembled stage hands rather than opera singers.
While expecting a company on a budget to splurge in sets and costumes might not be reasonable, I confess I felt a bit disappointed. Indeed, Charpentier’s intense music and Ovid’s parabolic plot deserved some kind of sets and at least simple costumes!
However, at the very first sounds of the hunters’ chorus “Allons, marchons, courons, hastons nos pas” (one of Actéon’s catchiest pieces), I realized that I had judged way too soon. A team of seven well-matched vocalists and two pantomime dancers put on so much dynamic action that the lack of sets and costumes was instantly forgotten. The contrasting tonality of the artists’ voices and their headspinning circle dance exuded the excitement and energy of young hunters chasing a stag through the spring forest. True, there were no sets onstage, but the artists’ convincing acting said it all. Even the white chairs came in handy, as the artists utilized them, first as horses, and later on as a set of moving clouds that the goddess Juno was walking on.