Although Toronto audiences have experienced memorable Robert Carsen stagings of two operas by Christoph Willibald Gluck in relatively recent seasons (Orfeo ed Euridice and Iphigénie en Tauride, both in 2011), Voicebox: Opera in Concert (OIC)’s Jan. 12th presentation of his Alceste (1767) is a Canadian premiere.
Its 1769 preface was a de facto manifesto outlining Gluck’s ideals for operatic reform. The result is an opera stripped bare of virtuosic vocal display that relies on expert declamation of its French text to make an effect. Happily, in soprano Lauren Margison and tenor Colin Ainsworth, OIC had found two exemplars of French, Classical style who used their considerable vocal and declamatory prowess to bring this spare tale inspired by ancient mythology to life.
In exchange for her dying husband King Admète’s life, Alceste offers herself to the gods without her spouse’s knowledge. At the gates of hell, Admète tries to dissuade his wife from her self-sacrifice and is ultimately aided by his friend, Hercules, who as deus ex machina, averts disaster. The plot doesn’t consist of much more than that, so everything depends on the protagonists’ handling of a succession of mostly solo arias and accompanied recits to inspire our emotional engagement.
Gluck tailored his vocal lines to the syllabic rhythm of Ranieri de’ Calzabigi’s text based on the ancient classical play, Alcestis, by Euripides. Unlike in Baroque opera where words are often repeated, Gluck’s text is declaimed in a more or less continuous stream much like in a play. Both Margison in the title role and Ainsworth as Admète had obviously taken great care in their preparation, and brought abundant nuance to their diction and vocal syntax.
Commanding leads
Margison explored all the dynamic possibilities of her extensive range. Her top notes in the work’s most famous aria, “Divinités du Styx” were thrilling. In passages requiring more tenderness, especially when weighing her choice to leave her children behind, the soprano offered beautifully-sculpted soft singing. Alceste is a massive role which Margison delivered with impressive intensity and stamina. In the limited staging given to her, she moved with confidence, using just enough hand and arm gestures to support the story she conveyed so clearly with her singing.
Ainsworth’s Admète doesn’t appear until near the end of Act 1, but from his first entrance, the dramatic mood shifted. Clearly, he has drawn on his deep familiarity with French Baroque composers like Rameau and Charpentier, as well as other Gluck roles like Orphée and Pylades, for this new role assumption. He transmits a focused physical energy that in turn informs his inflection of the text to bring this obscure figure from ancient mythology to life.
I have had the great pleasure of listening to Ainsworth over what is now decades, starting with his earlier recital work with the late-lamented Aldeburgh Connection song series. Upon this evidence, he is singing better than ever, absolutely secure in his upper range, his sweet tone still intact.
Strong cameos and chorus
Ryan Hofman (Infernal god).
Most of the other roles come in the form of walk-on cameos of gods, priests, oracles and such. The two most impactful of these were Ryan Hofman as the Infernal God and Sebastien Belcourt as Hercule. Belcourt strode the stage like a hero and sang his aria with a penetrating high baritone that was only marred by a few under-pitch moments. Hofman intoned his foreboding proclamations with a rich baritone and clear French.
Sebastien Belcourt (Hercule).
The chorus is integral, taking on a formal role as commentators who amplify the protagonists’ drama. Under their longtime Director Robert Cooper, the company’s chorus sang with appropriate restraint and clear phrasing informed by the text.
New OIC Venue
This was OIC’s first presentation in their new venue, Toronto’s Jeanne Lamon Hall, better known as Tafelmusik’s principal home. The space doubles as Trinity-St. Paul’s church, and has the sort of warm, ecclesiastical acoustic one would expect. Initially, this imbued the OIC chorus with more of a church choir sound than might be ideal, but eventually, one’s ear adjusted to the added ambiance.
As is their custom, OIC presents their operas with piano accompaniment. Alceste was led from the piano by repetiteur Suzy Smith. Her contribution to the overall musical excellence and momentum cannot be underestimated. I especially enjoyed her pianistic interpretation of Gluck’s signature orchestral flourishes that punctuate entrances and exits.
As company General Director Guillermo Silva-Marin mentioned in his pre-performance address, OIC had decamped to Jeanne Lamon Hall after it was originally announced their customary venue, the St. Lawrence Centre for the Performing Arts, would undergo a massive $420 million renovation. In peak Toronto fashion, city council has now canceled that plan so it remains to be seen if OIC will stick with the Bloor street hall, or not. If the company continues to cast at this level, then its artistic future looks bright, no matter the location.
Opera in Concert’s season continues with Puccini’s La Rondine on March 20 and 21 at Toronto’s Jeanne Lamon Hall
