Didon et Énée Reimagined: A Fresh Take by L’Académie de l’Opéra de Bordeaux
The Opéra National de Bordeaux has recently launched its Academy, a fresh initiative reminiscent of Opera Studios but with a lighter touch and focused on a specific theatrical project: a reimagined version of Henry Purcell’s baroque masterpiece, Didon et Énée. This innovative production aims to provide young artists with valuable opportunities while liberating them from the pressures typically associated with traditional opera productions. By fostering a spirit of ensemble, often lost in modern opera due to the demands on soloists, this project revitalizes the collaborative nature of performance.
The stage is set for an intriguing performance with a cast of nine performers, comprising both musicians and singers. Leading this creative venture is the young director Louise Brun, who describes the project as “zero purchase,” mirroring the recent production of Requiem in Loco. Brun’s vision integrates the musicians into the action, effectively transforming the chamber music ensemble into a group of humble Carthaginian fishermen who serve as witnesses and commentators on the unfolding drama.
Among the talented musicians are Clara Lighezzolo (clarinet), Julija Bojarinaite (flute), Alissa Oboronova (violin), and Garance Buretey Tripez (cello), all clad in ragged attire that embodies their characters. They are complemented by Louise Jallu on the bandoneon, whose instrument acts as a continuous bass foundation, enhancing Haru Shionoya’s original arrangement of Purcell’s score. This new treatment of the score not only honors Purcell’s genius but also introduces fresh interpretations, including some delightful surprises.
The adaptations ensure that significant choral parts are retained, particularly featuring the soprano voice of Marie Lombard, allowing the ensemble’s richness to shine. In the concluding choral piece after Dido’s death, “With Drooping Wings,” the reworking introduces a slow counterpoint with a texture reminiscent of Ravel, creating a lush soundscape with voices soaring above a rich tapestry of harmonies.
Brun’s Didon et Énée Revisited preserves nearly all the original solo arias, ensuring that the dramatic arc remains intact and that the young singers from the Académie de l’Opéra de Bordeaux have a platform to showcase their talents. This opportunity is particularly precious, as it allows them to shine on a national stage.
The role of Dido is compellingly portrayed by young mezzo-soprano Amandine Portelli, who delivers a remarkable performance at just 19 years of age. Her deep, rich voice exudes a maturity beyond her years. Portelli understands the demands of baroque repertoire, skillfully navigating the necessary vibrato and vocal placement to convey the tragic fate of Dido. Her initial entrance resonates powerfully throughout the theater, culminating in the heart-wrenching “When I am laid in earth,” a moment eagerly anticipated by the audience.
Sharing the stage with Portelli is Eduard Ferenczi-Gurban, a Romanian-Hungarian baritone portraying Aeneas. His role, akin to Monteverdi’s Orpheus, challenges him to maintain a high vocal line while managing the demands of a character who is both a lover and a warrior. While his timbre still possesses youthful qualities, Ferenczi-Gurban demonstrates solid technique, especially in the final duet with Dido, “I’ll stay,” showcasing a promising future.
The character of Belinda presents a formidable challenge for any soprano, given her critical role as Dido’s confidante. Marie Lombard has risen to the occasion, managing to stay in sync with the ensemble despite the absence of a conductor. Her clear breath support and her ability to navigate the stage ensure that she maintains vocal health and fluidity throughout her numerous appearances.
Aviva Manenti takes on the role of the sorceress, injecting a palpable tension into the performance. Her portrayal involves a physicality that is both unsettling and engaging, with movements that enhance her vocal expression. Though she requires a moment to fully embody the character, once she does, her voice reveals a captivating depth that draws the audience into the drama.
Overall, Didon et Énée Revisited thrives on its collective spirit. The sense of unity among performers—both instrumentalists and singers—creates a refreshing and cohesive experience. With no designated conductor, the responsibility is shared, fostering a deep level of listening and collaboration. This fluidity allows the music of Purcell to unfold seamlessly, captivating the audience from start to finish. The production concludes with a collective bow, as the ensemble steps forward hand-in-hand to a chorus of enthusiastic applause, marking a successful debut for this Academy in the grand arena of opera.
This article draws inspiration from “Didon et Énée Revisited: l’Académie de l’Opéra de Bordeaux dans la cour des grands” by Olivier Delaunay.
