San Francisco Classical Voice

The American Bach Soloists presented Purcell's opera Dido and Aeneas last Thursday as an impressive part of its six-day Summer Fest 2000 at St. Stephen's Church in Belvedere.

First performed in 1689 at a Chelsea boarding school for young gentlewomen, Dido is the height of that era's musical-dramatic style and the only Purcell work set to one complete libretto throughout. Within its three acts, bridged by brief orchestral interludes, and lasting only an hour, there is a variety of songs, dances, scenes of magic and sorcery reminiscent of masques and semi-operas.

Given the limitations of space at St. Stephen's, this presentation, simply staged, was an appealing one. The role of Dido was well and expressively sung by mezzo-soprano Rosemarie van der Hooft. Dido's famous closing lament was extremely moving and poignant: She died gorgeously.

Jennifer Ellis, an energetic and confident Belinda, possesses a bright soprano voice that often rose above the context and mood of the music, though her diction was difficult to understand. David Newman as Aeneas, the Trojan prince, is a tall, good-looking, young baritone with a mellow, somewhat covered voice. If his action on stage seemed rather stiff, it was appropriately restrained for the style of the period and the character of Aeneas.

The witches' scenes, bathed in eerie deep red light, were effectively performed. Sorceress Zoila Munoz, costumed in black with orange highlights and wearing a huge, wicker-like head-dress, was impressive to look at, but her wide vibrato obscured the pitch of her contralto voice.

Christa Pfeiffer, second woman, Andrea Fullington and Christine Earl, witches, Kevin Fox, spirit, and boy-soprano Gabriel Fanelli as a sailor all portrayed their parts ably. The chorus as a whole was excellent, exhibiting fine diction, sound, and ensemble.

The orchestra, under Jeffrey Thomas's direction, played the stylistic music with great sensitivity and attention to detail. Their balance and dynamic level of accompaniment were a great aid to the interpretation and moods of the various acts. Still projections of three paintings from the National Gallery, London, The Hermitage, St. Petersburg, and Kunst Halle, Hamburg enhanced the overture and interludes.

The first half of the program, before the Main Event, was devoted to Handel's Concerto Grosso in B flat major, HWV 325, followed by the Water Music Suite No. 3 in G major, HWV 350, with Stephen Schultz playing the baroque flute flawlessly. The ensemble in both works was impressive, the style convincing, and the capacity audience in the small church applauded enthusiastically. One could easily imagine gentlefolk along the Thames enjoying the neat, spirited Water Music.

As prelude to the main concert, an opportunity to meet some of the artists and to enjoy food and drink al fresco was offered, with musical enhancement by archlutenist Michael Eagen. Then, in the Parish Hall, the inQuire Quartet performed a Twilight Serenade of motets from the 16th, 17th, and 20th centuries. The a capella singing by Suzanne Elder Wallace, leader and alto, Andrea Fullington, soprano, Douglas Mandell, tenor, and Raymond Martinez, baritone, was beautiful, really ravishing.

(Margot Power has performed solo roles with the Baltimore Civic Opera and San Francisco Spring Opera, with the Carmel Bach Festival, and with many symphony orchestras. Originally a concert pianist, she has more recently specialized in lieder singing.)

©2000 Margot Power, all rights reserved