On April 27, Boston Baroque presented a thrilling production of one of the gems of baroque opera, George Frideric Handel’s opera “Ariodante,” which is a tale of love’s triumph over evil set in medieval Scotland.
Performed at the GBH Calderwood Studio, the production was presented in a more dynamic setting than that of a traditional opera house. Lending a daring spirit of innovation to the production, the stage took the form of raised platforms encircling the orchestra, on which the cast lithely moved and interacted. Additionally, projection designer Camilla Tassi and lighting designer Kyle Stamm created a series of dazzling visual effects that helped to set the scene, from bucolic woodlands to thunder and lightning to even projections of the characters’ faces as windows into their respective consciousnesses. Costume designer Neil Fortin also created a sumptuous wardrobe for the cast in the form of sleek tartan garments — at once period-appropriate, chic, and practical for the singers who nimbly traversed the multi-level stage.
The three-act opera, inspired by Ludovico Ariosto’s romance epic “Orlando Furioso,” tells the story of Prince Ariodante, who is to be wed to Ginevra, daughter of the King of Scotland. A jealous spurned lover of Ginevra’s, Polinesso, contrives to orchestrate her downfall by accusing her of unfaithfulness. After various complications, including Polinesso deceiving Ginevra’s beloved attendant Dalinda and Ariodante fleeing and then returning to Scotland, Polinesso’s scheme falls apart when he is cut down by Ariodante’s brother Lurcanio in revenge.
A story of courtly romance, “Ariodante” is in many ways like other Handel operas, with lengthy showpieces for star singers and extended plots with heightened emotions and intrigues. Boston Baroque indeed assembled a virtuosic cast, led by conductor Martin Pearlman in his final Boston Baroque concert as music director. Taking the stage first was soprano Amanda Forsythe as Ginevra, her playful and emotional coloratura expressing Ginevra’s joy at her impending marriage to Ariodante. Soprano Robin Johannsen, who played the role of Dalinda, contrasted wonderfully to Forsythe’s mature and velvety tone with her bright and sweet voice.
The roles originally written for castrati or castrated male singers were also excellently cast. The title role was played by mezzo soprano Megan Moore, her unusually flexible voice pulling off Ariodante’s showstopping coloratura. Absolutely in control throughout the three-hour runtime of the opera, her blooming voice was beautifully mellow. Her voice paired exceptionally well with Forsythe — a perfect portrayal of enamoured lovers oozing with chemistry. In contrast, Ann McMahon Quintero played a swaggering Polinesso, her assertive dark mezzo a perfect vehicle for Polinesso’s cunning character.
The ensemble cast also featured many other stellar voices: Richard Pittsinger’s delicate tenor lent itself wonderfully to Lurcanio’s heartbreak over Dalinda who has fallen for Polinesso’s overtures which are all but a ruse to win her over for his nefarious plan. Brandon Cedel was an authoritative King and embodied the role of the conflicted monarch torn between honor and accepting his daughter even after her name had been smeared by Polinesso. Jason McStoots was a dutiful Odoardo to Cedel’s Scottish king. The chorus was also superbly formed; Robed in black with tartan accents, they formed a spirited royal entourage.
Stage director Eve Summer’s use of the space was masterful, having the singers occupy different heights and positions on the stage in different postures, reinforcing the themes of hierarchical court life and power play. Especially given the limited stage space and unconventional performance venue, her directing choices were highly effective. However, some of the characters’ relationships could have been staged more dynamically, such as Ariodante’s relationship with his brother, which often panned out in slightly repetitive, awkward shows of brotherly affection. Given Handelian operas’ propensity for lengthiness and bravura rather than actual character complexity, it would have been interesting to see what could have been made of somewhat more static characters and their relationships with each other.
Nevertheless, the music flourished in its typical Handelian splendour. “Ariodante” features many hidden gems, such as the many duets between Ariodante and Ginevra — Ariodante’s introspective aria of despair and revenge “Scherza infida” and Ginevra’s aria “Il mio crudel martoro” preceding a fitful nightmare, for instance. Along with other unique musical effects such as one of Ginevra’s arias beginning unaccompanied by anything but violins and the orchestra erupting into a triumphant fanfare at the end to herald the coalescence of Ginevra and Ariodante’s hard-won joy, Boston Baroque’s well-casted and boldly presented “Ariodante” was a musically memorable performance of Handel’s underrated masterpiece.
—Staff writer Lara R. Tan can be reached at lara.tan@thecrimson.com
