The Observer, April 11, 2008
Volume XL, Issue 24
Dido and Aeneas given star treatment by music department
In a tale of passion, tragedy, and love, the Case Department of Music premiered a unique, expanded production of Henry Purcell's Dido and Aeneas. Based on Virgil's Aeneid, the baroque-era opera tells of the passionate love affair between Trojan hero Aeneas, played by tenor Daniel Kenworthy, and Dido, Queen of Carthage, portrayed by soprano Sarah Fuhs. Shipwrecked in his mission to found the city of Rome, Aeneas takes refuge in Carthage, consequently developing an arduous attraction to his royal hostess. Bound by duty and restricted by fate, the pair gives into temptation, only to be torn apart by sabotage and misfortune.
Unfortunately, over the ages, some discrepancy over missing portions of Purcell's score creates gaps in the narrative, making this opera an extremely difficult work to perform accurately. To counter this, Grammy-nominated director Ellen Hargis creatively used Nahum Tate's surviving libretto to craft an original prologue consisting of music taken from other Purcell works. In a series of three masques, the audience is creatively introduced to the valiant Aeneas who, in spite of his conquests in the battlefield, cannot resist love; Queen Dido, who is torn by heartache as she fears their love is forbidden; and the sailor Corydon, who advises Aeneas and provides moments of comic relief to alleviate the intense drama of the production. Although the director took some creative liberties in the formation of the Prologue and character interpretation – the role of the sailor, for example, has been expanded to incorporate the vast amount of talent the music department offers – the transition between the original 17th century work and the addendum is seamless.
The beauty of Case Western Reserve University Department of Music's production of Dido and Aeneas is how impeccable attention to detail creates a truly flawless performance. Every cast member's vocal abilities filled Harkness Chapel with little to no technological assistance. Whether the conniving sorceress (Cheryl Moore), or the entertaining shepherdess (Carina Wolff), each performer expertly portrayed a distinct character, a difficult feat in such a short piece. Moreover, the traditional 17th century orchestra, complete with a variety of baroque-era lutes and guitars, delivered an exquisitely polished interpretation of Purcell's score. From the chilling, romantic solo in the "Guitar Chacony," courtesy of musician Stephen Toombs, to the upbeat violin trio "Three Parts Upon a Ground," played by Joan Plana Nadal, Leah Peroutka, and Fiona Hughes, every piece was beautifully played with some musicians even doubling as dancers.
Staged in a fairly small venue, the production could not incorporate some of the flashier elements of opera such as involved sets and extravagant costuming, but by allowing some theatrical elements to remain simpler, the opera maintains a historical and musical baroque feel. The entire cast is well-versed in baroque gesture, and actors portray their characters in the appropriate style, whether the role required the grace of nobility or the coarseness of sorcery. Moreover, each scene is artistically punctuated with a number of baroque dance, choreographed by music director Julie Adrijeski. With dancers expertly trained in the 17th century style (both formal and rural) the constraints of Harkness Chapel's small stage are gracefully overcome. By heavily incorporating baroque gesture and movement, Case's Department of Music executes the production exactly as Purcell would have envisioned.
