Mid Wales Opera approaches their OpenStages productions with an enthusiastic commitment, fostering both local communities and emerging vocal talent. Their recent rendition of Purcell’s Dido and Aeneas, accomplished in just one intensive week, deserves high praise for its execution. This choice of opera, originally composed in 1689 for the students of Josias Priest’s boarding school in Chelsea, was fittingly selected.
A diverse group of amateur performers comprised the chorus, depicting characters such as Carthaginian nobles, members of a witches’ coven, and sailors. Well-trained in the distinctive physical expressions and movements, their singing ranged from boisterous and lively to somber and reflective, showcasing their dedication. The young cast, some of whom are already pursuing singing careers, exhibited a higher level of vocal finesse, all expertly guided by conductor Jonathan Lyness, particularly in his support during their recitatives.
Director Richard Studer also designed the minimalistic yet impactful set: a simple metal structure served as a central pavilion on an elevated platform, set against the backdrop of the cathedral’s west end, effectively framing the performance. The chorus, clad in black, featured an intriguing touch with a pale golden mark on their left cheekbones. In contrast, the lead characters, Queen Dido and Aeneas, stood out in white with intricate golden facial decorations that reflected their noble status. Dido’s handmaidens donned burgundy outfits, scattering petals reminiscent of blood, which resonated with the long stretch of velvet symbolizing a river of blood that eventually enveloped the dying Dido.
The tragic fate of Dido is foreshadowed from her initial aria, and Kathy Macaulay’s poised demeanor and concentrated soprano voice conveyed a sense of vulnerability from the start. Dido’s hesitation to accept her handmaiden Belinda’s (the expressive Alaw Grug Evans) encouragement to marry Aeneas illustrates her inner conflict; potential happiness is ultimately thwarted by the malevolent Sorceress and her witches, who plot to deceive Aeneas and lead to the downfall of Carthage. The relentless buildup to Dido’s final aria, “When I am lain in earth,” reinforces the emotional weight of Purcell’s conclusion, bringing the tragedy to a poignant climax.
Despite its heart-wrenching nature, it is a relief to note that librettist Nahum Tate, known for providing a happy ending to Shakespeare’s King Lear, did not interfere with this narrative, possibly at Purcell’s request. With the somber ground bass supporting the text, each of Dido’s repeated pleas to “Remember me!” resonated with increasing urgency. The MWO string ensemble beautifully mirrored the mood of mourning. The profound silence at the conclusion encapsulated the entire experience.
