Chemistry elevates Opera Atelier’s production of Dido and Aeneas

Opera Atelier production on now until Oct. 29 at the Elgin Theatre. Tickets at operaatelier.com

It is said there are only seven stories in the world. Greek mythology is responsible for at least some of them, with the tale of Dido and Aeneas (as told in Virgil’s epic The Aeneid) being one of the most famous. The Queen of Carthage falling in love with the Trojan Prince, only to be abandoned and die, grief-stricken, is one of the most well-known tragedies in the Western canon.

Though originally meant as a court masque with some altered elements (including replacing gods with witches), Henry Purcell’s 17th century opera Dido and Aeneas offers an intense exploration of love and loss that fuses mythology, music, and drama. Opera Atelier’s current production doesn’t quite trust the inherent drama of the music, but offers some stupendous singing and beautiful stage designs.

As the overture is performed by the Tafelmusik Baroque Orchestra, actor Irene Poole alternates between the voices of various gods and the poet Virgil to deliver a dramatic prologue. It’s a highly unnecessary addition that reduces Purcell’s sublime score to mere background music, and contributes nothing to the drama, which is largely expressed through lengthy musical interludes. Jeannette Lajeunesse Zingg’s period-specific choreography graces many of these scenes, adding a creative storytelling element which is greatly complemented by Michael Legouffe’s sumptuous costumes.

In the lead, mezzo-soprano Wallis Giunta offers a performance that, while highly mannered, is sung with total conviction and a breathtaking precision. The role of Aeneas is technically written for a baritone, and though tenor Christopher Enns gives a noble effort, he simply doesn’t have the tone in his lower register to be vocally convincing, though he and Giunta enjoy a nice onstage chemistry. Mezzo soprano Laura Pudwell gives a campy turn as a gender-bending Sorceress, but the cackling, panto-style approach and wobbly vocals distract from the production’s overall style. Ellen McAteer and Karine White are more spritely than scary as witches, though McAteer’s steely soprano handles Purcell’s fussy lines with sparkling agility.

Sets, by Gerard Gauci, are more fantastical than the pretty painted scenes of past Atelier productions. The beautiful moon-and-tangled-branch-filled stage that greets the Sorceress’ entrance is enhanced by Michelle Ramsay’s fabulously creepy lighting. The opera’s final scene, with strings of roses being strewn across the body of the gorgeously lit titular heroine, is masterful in capturing the awful beauty of both Purcell’s opera, and the mythology as a whole.