BBB_header.jpg

Black Box Baroque Provides Intimate Setting for Ariodante

Lisa Houston on March 20, 2015
Black Box Baroque Performers
Danielle Reutter-Harrah (Ariodante) rehearsing with Ellen Presley (Polinesso).

It has taken a long time for Baroque opera to make its way into major opera houses in the U.S. The Metropolitan Opera first performed Handel’s Rinaldo in 1984, and the San Francisco Opera’s first production of Handel didn’t come until 1978, with Giulio Cesare. These days, Baroque works make their way onto the season of both houses every two or three years, but that is not near enough to sate the appetites of early music lovers. World-class, period ensembles have had success putting Baroque opera at the heart of their repertoire, to great acclaim and popularity.

With groups such as Philharmonia Baroque and American Bach Soloists making their home here, the Bay Area has been an important part of this revival, and last season saw another company enter this rich field: Black Box Baroque.

Black Box Baroque debuted on the scene with a production of Handel’s Orlando at the Boxcar Theater in San Francisco last March, and this month, Black Box Baroque will perform Handel’s Ariodante on March 27 and 28, this time at the 80-seat Exit Theater on Eddy Street. The Exit Theater is a black box space with a 20-by-12 foot stage that is also home to the S.F. Fringe Festival.

Black Box Baroque founder Sara Hagenbuch — who will sing the role of Dalinda in the performances — feels that the group is filling a gap left in the Bay Area scene, where staged versions of Baroque opera are still a rarity.

The company’s use of online crowdfunding methods for fundraising may invite an audience who would be more at home in a small, black box theater than an opera house. Hagenbuch feels that such a setting is appropriate to the musical form.

“Baroque opera in a black box theater is surprisingly similar to an 18th-century opera-going experience. Audiences sat closer to the action, with side boxes and even seating on the stage. The stage and house lighting were both provided by candles, shortening the distance between the actors and the audience." 

"We hope to bring back a bit of this 18th-century feel within a modern setting: snacks, drinks, seats close to the action, and a casual, welcoming atmosphere. We really want to have our audience feel involved in the story.” “We hope to bring back a bit of this 18th-century feel within a modern setting: snacks, drinks, seats close to the action, and a casual, welcoming atmosphere."

Baritone Ben Kazez, who will sing the role of the king of Scotland, was pleased that many of the audience members for last year’s Orlando were first-time opera-goers, who ended up having a great time. “We think a big part of that is our affordable ticket prices, relaxed atmosphere, and close-up nature, which combine to make for a very comfortable first opera experience.”

The singers for Ariodante will be joined by members of the Albany Consort under the direction of harpsichordist Jonathan Salzedo. Salzedo and his wife, Marion Rubinstein, organize and direct the ensemble, which was named for the street where the group first performed in 1974 at Christ Church in London. The Albany Consort moved to the Bay Area in 1981.

Kazez had this to say about the 13-piece orchestra of period instruments: “Small orchestras of Baroque instruments are much better suited to small halls. The unique timbres of Baroque instruments were simply designed for much smaller rooms than our big opera houses, and the orchestras themselves are, of course, smaller. A Verdi opera in a black-box theater might well be unwieldy, but Handel is ideal.”

The title role in Ariodante will be sung by mezzo-soprano Danielle Reutter-Harrah, whose solo credits include American Bach Soloists and the Bay Area Baroque ensemble Liaison, of which she is a founding member.

Reutter-Harrah’s upcoming season appears to be a busy one, and includes performances with the prestigious Boston Early Music Festival. Tenor Jonathan Smucker, who will sing Lurcanio, has performed with numerous Bay Area ensembles, including Opera San Jose and West Edge Opera. Most recently, he performed in Opera Parallèle’s Dead Man Walking. Other soloists include mezzo-soprano Ellen Presley, soprano Kelly Rubinsohn and tenor David Oorbeck. The stage director is Kenneth Keel.

It is early days for this company, but the opportunity exists for Black Box Baroque to earn a loyal audience among new fans ready for a night out, longtime lovers of early music, or anyone eager to enjoy a finely crafted evenings of theater in a truly intimate setting.