United Kingdom PROM 24 – Purcell, The Fairy Queen: Le Jardin des Voix, Compagnie Käfig, Les Arts Florissants / Paul Agnew (conductor). Royal Albert Corridor, London, 6.8.2024. (AK)
Manufacturing:
Stage director / Choreographer – Mourad Merzouk
Assistant choreographer – Rémi Autechaud
Costumes – Claire Schirck
Lighting – Fabrice Sarcy
Singers of the Le Jardin des Voix – Paulina Francisco (soprano), Georgia Burashko, Rebecca Leggett, Juliette Mey (mezzo-sopranos), Ilja Aksionov, Rodrigo Carreto (tenors), Hugo Herman-Wilson (baritone), Benjamin Schilperoort (bass-baritone)
Dancers of Compagnie KÄFIG – Baptiste Coppin, Samuel Florimond, Anahi Passi, Alary-Youra Ravin, Daniel Saad, Timothée Zig
I’d haven’t guessed from this efficiency that I used to be watching an opera which was associated to Shakespeare’s A Midsummer Evening’s Dream. Not even the hilarious ‘No, no, no, no, no; no kissing in any respect’ (Corydon – Mopsa duet) would have essentially suggest any relationship to the Pyramus and Thisbe scene within the play. Nevertheless, in equity, in Purcell’s semi-opera it was the spoken textual content which introduced Shakespeare, not Purcell’s contribution. With such a efficiency, the place the whole spoken textual content has been reduce, the hyperlink to Shakespeare is well negated except sensible assistance is readily available.
The programme notes state proper up entrance that Purcell’s The Fairy Queen is a ‘Semi-opera in a prologue and 5 acts, libretto (anon.) after A Midsummer Evening’s Dream by William Shakespeare.’ Later within the programme notes we do get a radical description of what Purcell’s storyline in his 5 scenes (or 5 masques) is. Nevertheless, if one doesn’t know/research these notes previous to the efficiency, the plot is way from apparent.
What we had right here was a sequence of fantastic Purcell songs, choruses, instrumental music, and dance music in wonderful music and dance performances. We had surtitles clearly displaying all phrases which had been sung however there was no indication which character was singing which track. Moreover, though the programme notes listed all singers, no characters had been added to their names.
It’s customary to incorporate dancers into performances of The Fairy Queen, whether or not within the full unique model or in variations with cuts of various dimensions. Nevertheless, the inclusion of break dancers is exclusive to this manufacturing. They weren’t solely included; they had been integral a part of the entire course of. Their abilities on show included acrobatic strikes of mind-blowing proportions but additionally expressive dance actions absolutely in accord with the music. A number of instances Sir Frederick Ashton got here to my thoughts: he was probably the most musical choreographer with by no means ceasing innovations and stagecraft. Stage director and choreographer Mourad Merzouki created Ashton-like musicality for all motion, whether or not delivered by the singers or dancers, and thus blended music and stage into a wonderful unity.
Teamwork in all dimensions is a fundamental ingredient of Merzouki’s idea. That is indicated already throughout the opening traces (‘Come, come, come’) when singers and dancers hug one another. The singers ship quite a lot of physique actions, which depicts music in addition to feelings: to be clear, Merzouki’s choreography extends to the singers too. A few of these actions are humorous, like all arms behind the backs with arms appearing as wings whereas two recorder gamers current Purcell’s bird-like chirp music entrance of stage (‘Come all ye Songsters of the Sky’). Even very mild music has continuous however very expressive actions: throughout a soprano solo (‘See, even Evening herself is right here’) refrain and dancers are crawling on the ground with out disturbing the magical pianissimo sound of ‘Let delicate Repose’ inside the strophe. In ‘Hush, no extra’ the dancers are mendacity on the ground whereas the singers transfer and sing a cappella and with no conductor. Superior!
The fantastically delivered soprano solo ‘If Love’s a Candy Ardour’ is accompanied by a solo dancer, the melismas throughout ‘Ye Light Spirits of the Air’ are visualised by virtuoso dance turns.
Within the first half of the present all on the stage – musicians, singers, dancers – wore black. After the interval, among the black jackets grew to become props being waved, the costumes worn had been extra vibrant. At instances chairs additionally had been used as props.
Throughout a soprano aria (‘O let me weep’) the live performance grasp of the orchestra (Augusta McKay Lodge) walked round on stage whereas taking part in her solo violin half from reminiscence, thus contributing to a deeply transferring duo with the singer.
The ultimate uplifting and joyful quantity had all singers dancing and all dancers singing. Unity and teamwork celebrated Purcell’s superb music, delivered by wonderful musicians, wonderful singers, and astonishing break dancers. Mourad Merzouki and conductor Paul Agnew did justice to Purcell’s music and gave us a beautiful night. Nevertheless, it’s a nice loss that the efficiency was not filmed for BBC TV presentation.
Agnes Kory
