Tale of love and loss lacks passion
Armide By Jean-Baptiste Lully. Book by J.-P. Quinault. Directed by Marshall Pynkoski. Nov. 8, 10, 11 & 12 at Elgin Theatre. 416-872-5555
Glory, vengeance, deceit, love and loss. What could be more operatic? Set it against the backdrop of the first Crusade in the 11th century, and you have a Muslim vs. Christian conflict from this morning’s news. Such is the case with French composer Jean- Baptiste Lully’s last opera, Armide, first performed in 1686. Its North American premiere was held Saturday night at the Elgin Theatre, opening Opera Atelier’s 20th season.
Unfortunately, despite lush, eye- catching staging, wonderful dancers and excellent singers, the full passion of the work rarely reached past the stage.
Part of the blame goes to the Elgin Theatre’s less- than- ideal acoustics, where heavy upholstery, carpeting and a deep balcony detract from the sound. The period- instrument orchestra, Tafelmusik members at its core, sounded thin. The Florence- born Lully ( whose personal life story is itself worthy of grand opera) had schmoozed his way into the court of French king Louis XIV, ultimately becoming the monarch’s official composer.
Lully ( 1632- 1687) usually wrote one opera a year from 1673 on. Because the king liked to dance, these “tragédies-lyriques” contained elaborate formal dance sequences in which Louis could partake. To explain the story and the conflicts to the audience, JeanPhilippe Rameau reinvented the basic Italian accompanied recitative ( clearly syllabic singing accompanied by a “ continuo” of one to three instruments). But clever instrumentations notwithstanding, declamation dominates the 21⁄ 2- hour running time. The chorus (the Tafelmusik Chamber Choir split between opposing sets of box seats) has very little to do, but the soloists get a handful of beautiful solo and duet arias. American mezzo- soprano Stephanie Novacek is splendid as the Muslim warrior- queen Armide, a virgin who gets the better of her opponents by seducing them.
Equally strong is Canadian tenor Colin Ainsworth as Renaud, the valiant, equally virginal Christian warrior. He is seduced by Armide, but so is she by him, setting the duo up for a devastating breakup.
Canadian baritone Olivier Laquerre and tenor Michiel Schrey, playing Christian soldiers, are wonderful both as singers and comic relief. Baritone Curtis Sullivan is striking as Hate. The remaining supporting parts are excellently sung by sopranos Monica Whicher and Jennie Such, bass Alain Coulombe and baritone Andrew Mahon. The dancing is carried out with great poise by the Artists of Atelier Ballet, led by choreographer Jeannette Zingg. Opera Atelier regulars Dora Rust-d’Eye and Gerard Gauci provide gorgeous costumes and sets. Kevin Fraser’s lighting captures the right mood.
Director Marshall Pynkoski keeps the whole moving nicely. After a couple of shaky tempo changes during the Ouverture on Saturday, conductor Andrew Parrott took firm control of the orchestral players.
Despite all this excellent work, the whole lacks momentum. The climax, when a furious Armide burns down her palace, never achieves the intensity it so clearly calls for. Too bad, because the continuing misunderstandings between the Muslim and Christian worlds are nothing if not intense.