All too often opera in concert is presented in its most basic format, without the theatricality and staging so characteristic to its execution. However, when a presentation comes along from the likes of The King’s Consort, you can be sure that justice will be served, even without the smoke and mirrors we’ve all grown to love.
Artistic director and harpsichordist Robert King, instead of marching directly to the instrument, took the grip of the microphone to describe to his doting audience just where we were going this evening. Henry Purcell’s England was rife with dramatic upheavals and consequent regret, a place dependent on the ceremony of the King’s court, not only at home but in communiqué with other courtly nations. On this program was a crowning jewel of Baroque opera, Dido and Aeneas, well known by many audiences even those not familiar with Baroque repertory.
Not so well known was the Ode for King James II’s return to courtly life at home, “Why, why are all the muses mute?” Composed in reaction to a summer rebellion which was successfully defeated, the Ode begins in a rather unusual fashion. Instead of the standard opening with the entire chorus, a solo tenor (Charles Daniels) emerges and sets the stage for an uncertain and angst-ridden account of recent events.
The outstanding quality of musicianship on stage suffered only in some delicate choices of instrumentation during the Ode. Consisting of a string orchestra, without winds, or bassoon in the continuo, the repetitive nature of some continuo choices made some colors a bit too obvious. In rather soft, melodic solos the organ was consistently used to offer a mesh of sound, throwing a wet (albeit beautiful) blanket on the texture above. On the flip side, the double harpsichord instrumentation was associated with energetic motions. For my taste the choices became predictable; how lovely it can be to hear a harpsichord trickling away in a soft, supple texture.
The second and final work of the evening promised exciting drama through the introduction of the characters of Dido and Aeneas. Indeed, The King’s Consort, consisting primarily of native English speakers (i.e. singers), provides the perfect way to experience this work. The diction of Belinda (soprano Grace Davidson) shot through the texture high above the orchestra, thus taking us all out of our program booklets and into her soaring tonalities on stage.