The Monteverdi Choir's recent semi-staging of Purcell's Dido and Aeneas at the Cutty Sark in London offered a performance of tremendous musical quality, yet it struggled against the overwhelming presence of the 200-foot clipper ship looming overhead. While the tragedy of Aeneas's inevitable departure is central to the opera, the venue itself made this fate impossible to forget, raising questions about the need for elaborate staging.
A Ritual Performance Amidst Unforgettable Setting
Director Andrew Staples opted for a ritualistic approach, with trumpets and drums heralding a mournful procession. The cast and orchestra appeared in white face paint and torn tailcoats over concert blacks, resembling refugees from a Tim Burton fable. Soloists seemed to have arrived from Croydon on a Saturday night, adding a surreal touch. The museum's collection of antique figureheads—including Florence Nightingale, Disraeli, Sir Lancelot, and buxom lovelies—flanked the stage in a bizarre guard of honor, further distracting from the drama.
Musical Excellence Despite Visual Distractions
When closing one's eyes, the performance truly shone. Conductor Jonathan Sells masterfully navigated the score's darting currents, with the English Baroque Soloists delivering colorful, abandoned passages in celebration and restrained elegance elsewhere. The unaccompanied choral moments, such as "With drooping wings" and the two interpolated Funeral Sentences, were highlights. Here, movement and time seemed to stand still as voices unified with devastating clarity, carving the music's emotions with precision.
The space's natural resonance combined with strong vocal performances created an exciting central drama. German-Egyptian mezzo Karima el Demerdasch portrayed a voluptuous-voiced Dido, her suicidal queen gradually coming into focus. Johanna Wallroth's radiant, exuberantly ornamented Belinda contrasted with Bethany Horak-Hallett's sumptuous Sorceress, tugging the audience between good and ill. Hubert Zapiór provided a properly baritonal Aeneas, a worthy lover and sparring partner for Demerdasch, making him a hero almost worth dying for.
Future Performances and Potential
The production will travel to Norway for the Bergen festival next month. Freed from the nautical anchor of the Cutty Sark, it is likely to gain dramatic momentum. While the London staging was musically superb, the visual context often overwhelmed the intimate tragedy. The Monteverdi Choir's account of Purcell's opera remains a tremendous achievement, but one that may be better appreciated in a more neutral setting.
