Baroque opera is not for everyone. It is a bit slow moving and focuses more on the music than on the action. It is full of Da Capo arias that can either be exhilarating or drab, but when done well leaves an audience grasping for more. The Boston Early Music Festival is known for their amazing productions and concerts with exquisite music, brilliant technique and full houses.

Their production of George Frideric Handel’s Acis and Galatea intrigued me. I was very excited when walking into Jordan Hall to find that the soprano portraying Galatea for the night, Teresa Wakim, was actually the role’s understudy. Her bright beautiful tone coupled with baroque movement and style was a perfect execution for this opera. I felt her joy, pain, and grief through the production and applauded how she handled herself. I wish the men did not overpower her in the choral sections so that I could have appreciated her in a group as much as I did when she was soloing. Another highlight of the singers was Zachary Wilder as Coridon. His voice was superb with color and clarity and joy, and though he only had one aria, I was left wishing for more from him. Aaron Sheehan, as Acis, sang the second act superbly and his rage aria had me on my feet. I was disappointed though, with the antagonist, Polyphemus, sung by Douglas Williams. The entire opera rests on his “O Ruddier than the Cherry” which lacked power, splendor and ornamentation. It fell flat at a point in the opera that is pivotal to the plot and after which I paid little attention to his character.

The orchestra was perfect. Led by Paul O’Dette and Stephen Stubbs, each instrumentalist played a key role in the performance that was seamless and graceful. The oboe and recorder players Kathryn Montoya and Gonzalo X. Ruiz were delicious and really stood out as the most fun to listen to throughout the show. Anna Watkins’ costuming was gorgeous and really added to each character in style as well as a prop to use. The costume for Acis when he is in fountain form left me breathless. Gilbert Blin, as stage director, is highly acclaimed for his baroque staging. On this stage, the singers postures and movements were perfect. Their hands were graceful with their bodies in ceaseless movement and each resembled a beautiful portrait of 18^th century art. They were lovely.

Unfortunately I took issue with the rest of the director’s nontraditional staging. I believe the idea is that the show is being rehearsed in an affluent 18^th century family’s home. There were seats and desks with writing utensils, papers and tea cups on either side of the concert stage and a raised platform in the back with an aisle down the center. All the major action took place in the front of the stage as well as down the center and the back platform. While most of the opera is performed by one person at a time the rest of the singers were seated writing or drinking tea and having nothing to do with the action of the play. It detracted completely from the action of whoever was singing because the “non singers” were not even paying attention to the arias. If they don’t care enough to pay attention, then why should I?  I am still perplexed as to what the staging was for since it didn’t add to the piece dramatically. I also question the use of two paintings in the production. The first was great with regard to the opening song “The Pleasure of the plains”, but after that it was of little use and was a huge distraction.  The same goes for the painting hung at the back for the second act. There was no special use of stage or space and the most perplexing thing was the removal of wigs or dress as if it added intent to songs and arias. This did not have the desired effect.  I found the whole thing to be a bit like the performers just milling about in a heap of mismatched 18th century objects.  It could have been so much more powerful if the singers gave a true concert in the classic style.

I loved the music of this piece. It is a wonderful example of pastoral beauty and whimsy and BEMF’s version keeps your attention. It was a wonderful night of music and I believe BEMF got their message across, though Mr. Blin might have a few things to think about before staging the next chamber opera. Beautiful singing and grace!

PHOTO CREDIT: Teresa Wakim as Galatea (left) and Aaron Sheehan as Acis (right).  Courtesy of David Walker.