Opera Atelier celebrates its 40th anniversary season with a work that surely must be considered at the core of its four-decade mission. Marc-Antoine Charpentier’s David and Jonathan (1688) exemplifies the 17th-century French tragédie en musique, an opera based on a tragic subject from mythology, or in this case, the bible.
Told in five acts plus prologue, David and Jonathan includes divertissements for a ballet troupe interspersed with all manner of singing, not only for a large number of named soloists, but also, an eight-member onstage ensemble, as well as a full off-stage chorus. In other words, the type of spectacle on which Opera Atelier thrives, and delivers spectacularly in this production (seen Apr. 10).
Mireille Lebel (Pythonisse) and David Witczak (Saul) in Opera Atelier’s production of Charpentier’s David and Jonathan. Photo: Bruce Zinger
The opera tells the story of King Saul, his unhinged jealousy directed towards the hero, David, and the latter’s love for the king’s son, Jonathan. For audiences more accustomed to the relatively straightforward, linear narratives of later classical and romantic opera, the format of a French baroque piece like this one can be a little discombobulating.
In this case, the causes for Saul’s hatred of David occur before the opera starts. Plot-wise, not a lot happens. For example, a large section of act 1 is devoted to praise for David with a succession of beautiful short vocal solos, duets, choruses and dances. Jonathan doesn’t make an entrance until late in act 2, his relationship with David already established, and presented here without much psychological basis. One just has to accept the conventions and go along for the ride.
This production successfully sweeps us along in that direction due to an overarching aesthetic in which design, lighting, music and dance are inextricably linked. A case in point: the tragic finale in which Jonathan lays blood-stained and dying, centre stage. Surrounding him is a perfectly-placed ensemble dressed in Michael Gianfrancesco’s stunning, jewel-toned costumes, bound together by Kimberly Purtell’s exquisite lighting. The effect is like a great 17th-century history painting, its individual elements highlighted and shaded by a delicate chiaroscuro.
Mireille Asselin (Jonathan) with the company in Opera Atelier’s production of Charpentier’s David and Jonathan. Photo: Bruce Zinger
This staging was already successfully mounted by Opera Atelier co-artistic directors Marshall Pynkoski and Jeannette Lajeunesse Zingg at Versailles’ Opéra Royal in 2022 and will return there this May. The company has done a good job of transforming Toronto’s Koerner Hall stage, by no means an opera house, with Gerard Gauci’s handsome set pieces including a grand, double staircase centre stage. Within the confines of a relatively shallow platform, Lajeunesse Zingg’s choreography makes its considerable effects. Of special note are the male corps who thrill with their attitude leaps and swashbuckling sword play. The impact of Pynkoski’s equally choreographed movement for soloists and ensemble cannot be underestimated in terms of its impact on organizing the story-telling.
David and Jonathan requires an unusually large cast of soloists who must master the tricky French baroque style. Clear declamation of the text, smooth legato and the ability to navigate fast coloratura runs demand singers who are technical masters, but can also deliver language with dramatic point.
As David, tenor Colin Ainsworth was exemplary in meeting all these requirements. Followers of opera in Canada have had many opportunities to hear Ainsworth over his long career, and I wonder if he is somewhat taken for granted? As David, he delivered clarion tone, secure and beautiful throughout its range. His diction is pristine, making the surtitle translations almost superfluous. He moves with confidence and unabashedly inhabits his conflicted character who embodies heroism, loyalty, love and grief. The mainly lyrical nature of Charpentier’s vocal writing perfectly suits his instrument. The company is lucky to have such a persuasive artist on its regular roster of soloists.
Mireille Asselin (Jonathan) and Colin Ainsworth (David) in Opera Atelier’s production of Charpentier’s David and Jonathan. Photo: Bruce Zinger
As Jonathan, a pants role, soprano Mireille Asselin sang with a gorgeous, light lyric tone. Like Ainsworth, she knows how to move and invests her vocalism with deep feeling. One of the dramatic highlights was Jonathan’s declaration of love for David as he dies. Earlier, Asselin subtly hints that her character might not be so welcoming of David’s feelings, so his dying words come as a welcome resolution. The gender bending dynamics of a woman playing a man who might love another man were fascinating to see play out.
As the villain, Joabel, French tenor Antonin Rondepierre yielded his sword, and beautiful lyric voice, with panache. He’ll return as Pelléas in the company’s new production of Pelléas et Mélisande next season. Baritone Christopher Dunham made an auspicious Opera Atelier debut as David’s friend, Achis. Dramatically alert, and offering a robust, even sound, he energized the proceedings at every entrance. Baritone David Witczak as Saul certainly succeeded in conveying the king’s mental struggles but his outsized gestures and exaggerated movement seemed to emanate from a different production style. Possessing an attractive voice, his diction unfortunately lacked clarity.
Antonin Rondepierre (Joabel) in Opera Atelier’s production of David and Jonathan. Photo: Bruce Zinger
In the prologue, we briefly meet the witch Pythonisse who Saul visits, asking her to conjure the ghost of his predecessor, Samuel. Mezzo-soprano Mireille Lebel was a mesmerizing presence as the sorceress, though the role seemed to lie low for her lyric instrument. Although the role of Samuel is relatively short, bass-baritone Stephen Hegedus immediately commanded the stage with his bright and incisive tone.
David Fallis led the Tafelmusik Baroque Orchestra with dramatic point. The company is lucky to have such a crack period ensemble regularly at their disposal. Specialists like theorbo players Lucas Harris and Jonathan Stuchbery add a lot of flair and period authenticity when undertaking a piece like this one.
David and Jonathan is tailor-made for a company like Opera Atelier and must be considered one of their most successful productions in recent seasons. The choreography looked fresh and although period-appropriate, not confined by rules or history. The strong ensemble of singers from principal to chorister was extremely impressive. It’s a shame that most of them won’t appear in the Versailles revival in May — French audiences are missing out!
Opera Atelier’s production of David and Jonathan continues its run at Toronto’s Koerner Hall through Apr. 13 www.operaatelier.com
