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SCRUTINY | Rarity By Gluck Brought To Life By Opera In Concert

By Arthur Kaptainis on January 13, 2025

Composer Christoph Willibald Gluck, painting by Joseph-Siffred Duplessis, 1775 at the Kunsthistoriciches Musee Wien (Public domain)
Christoph Willibald Gluck, painting by Joseph-Siffred Duplessis, 1775 at the Kunsthistoriciches Musee Wien (Public domain)

Voicebox: Opera in Concert | Gluck: Alceste. Lauren Margison, Alceste. Colin Ainsworth, Admante. Suzy Smith, piano and music direction. Robert Cooper, choir direction. Jeanne Lamon Hall on Jan. 12, 2025.

Pivotal as they are in the history of music, the operas of Christoph Willibald Gluck (1714-87) are not performed all that often. It fell to Voicebox: Opera in Concert on Sunday to present Alceste in what the company billed as the Canadian premiere of its French-language revision of 1776.

This work is famous (in its original Italian version) for a written preface that calls for the suppression of artifice and florid ornamentation in favour of “beautiful simplicity.” No prohibition is recommended of mythological settings and familiar poetic tropes. Based on a play by Euripides, Alceste pits mortals against gods.

Even by operatic standards, the expressions of a preference for death over separation seem insistent.

Still, the devotion of the title character to her husband, Admète, scans as authentic, as does the distress felt by the populace over the imminent death of their king. This opera holds the stage.

Performances: Leads

At least it did on this occasion, with Lauren Margison as the central heroine. This Canadian soprano has a big voice with a dramatic edge. After a forceful start, she conveyed a variety of feeling in her signature aria, “Divinités du Styx.” Acting was confident, especially after intermission. Flashing eyes were very much part of her expressive arsenal. High notes held no terrors.

Colin Ainsworth, also Canadian, made a realistic and three-dimensional Admète with his clear, mature timbre and natural phrasing. Diction was so good (in his case) I could often do without the projected surtitles. In some introductory remarks, OIC general director Guillermo Silva-Marin mentioned that Ainsworth was recovering from surgery. No audience indulgence was required. The tenor had his music on a stand, but rarely consulted it.

Supporting Roles

Supporting roles were filled only passably, in many cases by members of the chorus. I do not envy anyone tasked with the ridiculous part of Hercules, whom Gluck (apparently following Euripides) conceived of as a comic character.

In any case, the crucial third party in Alceste is the chorus, which both participates in and comments on the action. Robert Cooper led his cohort of about 20 voices with a sure sense of ebb and flow. Music direction came from pianist Suzy Smith, who got everything she could out of a so-so Steinway. The OIC co-pilot system works well.

Dramatics were limited to essentials. Some of the choristers donned masks when the scene changed to Hades. Daylight faded, appropriately, as the story moved south. Jeanne Lamon Hall should work well as a new home for OIC. Presumably the crowds will be larger as people get used to the change.

Final Thoughts

In all, this was successful afternoon, although it must be said that the absence of an orchestra was felt keenly. Gluck was a great instrumental colourist. What a fine thing it would be to hear (and see) a full production. Kudos to OIC for pointing the way.

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Arthur Kaptainis
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