Handel: Acis and Galatea. Opera Atelier: Meghan Lindsay sop. (Galatea); Antonin Rondepierre ten. (Acis); Douglas Williams bass-bar. (Polyphemus); Blaise Rantoanina ten. (Damon); Corps of the Atelier Ballet; Marshall Pynkoski (stage director); Jeannette Lajeunnesse Zingg (choreographer); Tafelmusik Baroque Orchestra, Christopher Bagan (conductor); Nathaniel Dett Chorale. Elgin Theatre, October 24, 2024. Continues until October 27; tickets here.
Opera Atelier, Canada’s premiere Baroque opera company, opened its 39th season with a revival of Handel’s popular Acis and Galatea, variously called a masque, a pastorale, or an opera. It was last staged by the Company in Toronto back in 2010.
Last evening, it played to a highly enthusiastic crowd. While it wasn’t a sold out performance, the audience enthusiasm made up for it, given the whooping and hollering for both the performers and the orchestra.
It was great to revisit this iconic piece, as I have fond memories of its last outing 14 years ago, sung by soprano Mireille Asselin and tenor Thomas Macleay as the lovers. Wonderful to see the beautiful set and exquisite costumes designed by Gerard Gauci, coupled with the trademark direction of Marshall Pynkoski and choreography of Jeannette Lajeunesse Zingg. A lively evening at the opera, then as now.
Acis and Galatea 2024
This time around, there is a complete cast change. We are given a felicitous mix of OA favourites (soprano Meghan Lindsay as Galatea and bass-baritone Douglas Williams as the villainous Polyphemus) and guests (French tenors Antonin Rondepierre and Blaise Rantoanina as Acis and Damon respectively). According to the program, the two tenors had previously worked with OA in France and are now making their Canadian debut.
Premiered in 1718 and revised in 1739, Acis and Galatea tells the love story of the water nymph Galatea and the shepherd Acis, a happy couple, frolicking in a pastoral setting. The villainous sea monster Polyphemus, also in love with Galatea, has to spoil it all by killing Acis in a fit of jealousy. Heartbroken, Galatea mourns the death of Acis. But all is not lost! Since Galatea is a creature of the spirit world, she uses her unearthly power to transform Acis into a fountain in which she will reside in eternity.
Fanciful? Quaint? Romantic? “Yes” to all those, and you can add evocative, entertaining, and emotionally satisfying to describe this Baroque piece. I mean, who doesn’t like a happy ending? Act One is light-hearted and bucolic, with everyone in exquisite costumes and with plenty of dancing and frolicking. True to form, Jeannette Lajeunesse Zingg has come up with an unending flow of eye-pleasing dance sequences, lovingly executed by the marvellous OA Ballet corps.
Act II
The story turns melancholic in the Second Act, but not before the entrance of the cyclops Polyphemus, vividly acted and sung by Williams. There were plenty of sight gags, having him enter from the back, going down the aisle, engaging in shenanigans with audience members, judging by the raucous laughs of a few of the women. He then walked on to the stage and delivered his aria. His whole scene was played for laughs, with the very buffed Mr. Williams in a bare-chested costume mincing about. Yes, it was funny to a degree, but frankly it was overkill.
The opera concluded in a quasi-sad ending, with the shepherd reuniting with the nymph in the spirit world after his death.
Performances
Musically it was at a very high level, as expected. Meghan Lindsay sang with attractive and pure tone. French tenor Antonin Rondespierre offered warm timbre, albeit with modest volume, as Acis. The two of them made a believable pair of lovers. As Damon, Blaise Rantoanina acquitted himself honourably as an effective sidekick.
Conductor Christopher Bagan led the Tafelmusik forces in a fluid and spirited performance, but perhaps it was where I was seated — under the overhang — the orchestra didn’t have the impact that it should. The dry acoustics of the Elgin didn’t help. On the other hand, the Nathaniel Dett Chorale, placed in the right-side boxes, sounded terrific.
Final Thoughts
Finally, kudos to Opera Atelier for producing an “illustrated study guide” of Acis & Galatea, with text by Jessica de Bruyn and illustrations by Meredith Wolting. It’s designed to introduce young people to the opera.
What a marvellous idea! A large format, beautifully printed and illustrated brochure, with well written text, even three discussion questions at the end. I wish more opera companies would do that. We need to bring more people to this beautiful art form.
Bravo Opera Atelier!
Are you looking to promote an event? Have a news tip? Need to know the best events happening this weekend? Send us a note.
#LUDWIGVAN
Get the daily arts news straight to your inbox.