A Delightful Baroque Treat by the Florentine Opera

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Those 17th century operas, John Blow’s Venus and Adonis and Henry Purcell’s Dido and Aeneas, may seem quaint and antiquarian for reality-oriented modern audiences, but they were rich in charm and pictorial splendor in the Florentine Opera’s recent production.

The delightfully authentic Baroque costuming and beautifully choreographed dance sequences added impetus to the appeal of the storyline. The Baroque instrumentation with its low-keyed almost claustrophobic pitch added a sense of intimacy, which gave the performances an additional sense of authenticity under the inspired direction of internationally-esteemed harpsichordist Jory Vinikour.

The cast was remarkable in their vocal delivery. The poignant romance of the works may lack the testosterone patina of current drama, but never seems unduly quaint. The powerful performances of baritone Leroy Davis, in a double role as Adonis and Aeneas, resounded magnificently within the acoustically warm Wilson Theater at Vogel Hall. No less stirring was counter tenor’s Randall Scotting riveting performance as Cupid. Equally memorable was Alisa Jordheim’s beautiful full-bodied soprano as Venus and Belinda. Sandra Piques Eddy matched her costars with a rich dramatically grounded performance as the tragic Dido.

Stage director William Florescu, presented a performance constantly in motion, which gave the production an energy that belies the ancient origin of these works. The audience was remarkably attentive and seemed to appreciate the quiet undemanding harmonies and the charm with which they were presented. In many ways this was one of the finest recent productions by the Florentine Opera, enhanced by the consistency of a superior cast.