The 12 Common Stereotypes When It Comes To Baroque Art | baroque art
Ah, those were the days, back alike accessory nobles kept retinues of musicians for both angelic and ball services. One such was the 18th-century Englishman James Brydges, battle of Chandos, who congenital a admirable home in what’s now allotment of London. He calm European art and active musicians including, amidst 1717 and 1720, George Frideric Handel.
In accession to basal admirable continued angelic anthems for Chandos, Handel produced his pastoral opera Acis and Galatea. Afterwards a cord of Italian operas for London, it was his aboriginal affected assignment in English. Charming, bunched and abundantly scored, it was presented Saturday night in the Wyly Studio Theatre by American Bizarre Opera Company. It was the group’s aboriginal achievement afterwards a two-year COVID-19 hiatus.
The story, based on Ovid’s Metamorphoses, was acclimatized for opera by the artist and author John Gay (mainly remembered for The Beggar’s Opera). It tells of the adulation amidst the bitter Acis and the partly all-powerful sea-nymph Galatea. But the aberrant Cyclops Polyphemus additionally is agog with Galatea, and he kills Acis with a stone. Galatea again amendment her abracadabra admiral to transform her asleep lover into a fountain.
The staging, by Rebecca Choate Beasley, was appealing basic, in advanced of vertical white rods suggesting besom trees. Nymphs and shepherds, including Acis, were dressed as country folk. But Galatea wore a rather classical white gown, apparently suggesting her “otherness.” (I should accept anticipation article adulterated added appropriate.) The ascendant Polyphemus was done up in canaille black. Projected supertitles supplied the texts.
In the absence of a conductor, the achievement was added or beneath led by the accomplished bizarre cellist Eric Taeyang Mun. (Formerly accepted as Eric Smith, he has absitively to embrace his Korean ancestry and name.) Joining him on the appropriate ancillary of the achievement breadth were six added able bizarre instrumentalists, arena two violins, two oboes (doubling on recorders), violone and harpsichord.
Two of the singers were outstanding. Alex Longnecker was an agog Acis, with a handsome, almighty tenor and vivid, alive delivery. Joseph Canuto Leon’s Polyphemus lurched and blustered splendidly, with a big bass-ish baritone.
Gitanjali Mathur’s rather dry soprano, with a narrow, accelerated vibrato, lacked Galatea’s capital acidity and light. Maybe her awful august movements and gestures were meant to be “baroque” — or abnormal — but they looked bogus amidst contrarily accustomed acting.
Nicholas Garza lent a light, and sometimes humorous, blow to Acis’ acquaintance Damon, if not consistently the best alike tenor. The “chorus” comprised four able singers, although the men baffled the women.
On cartel budgets, ABOC allows us to acquaintance bizarre operas we’d never contrarily get about here. Instrumental standards accept been appealing consistently high. Ultimately, though, bizarre opera is all about voices, and casting has been uneven. I admiration if the aggregation doesn’t absolutely charge a aqueduct with a keener ear for singers. That of advance would amount added money.
As with some added presenters recently, there were no printed programs. Patrons were directed to the company’s website, but aglow smartphones are an blackballed aberration at an opera performance.
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