Henry Purcell’s “The Fairy Queen” is defined as a semi-opera, but perhaps that term is misleading. The 1693 work is actually a little bit of everything — a play adapted from Shakespeare’s “A Midsummer Night’s Dream” stitched together with music and masques.
On Saturday at the Twentieth Century Club, three local music organizations — Chatham Baroque, Renaissance & Baroque and the Pittsburgh Camerata — produced a historically informed performance of this work.
There were many strong moments, and the city’s music scene should welcome the groups’ pooling of resources and collaborative spirit. But with issues ranging from technical problems to singers reading from binders as they interacted onstage, this production seemed not to know whether it was a concert performance or a semi-staged show.
Conducted by Don Franklin, the orchestra offered vibrant, expressive playing, particularly from the strings and chorus. The Masque of Sleep and violinist Andrew Fouts’ solo during “The Plaint” showcased Purcell’s music at its finest. There were, however, widespread technical hiccups: poor intonation among the non-stringed instruments and the occasional tempo or balance issue. Mr. Franklin, an early music expert and a professor of music emeritus at the University of Pittsburgh, had an imprecise ictus, which led to some hesitant entrances from the musicians.
Among the soloists, baritone Mischa Bouvier stood out, offering an eloquent, articulate delivery characterized by a bronze timbre that was complex yet clear. Soprano Laura Heimes gave keen interpretations and used dynamics effectively, but her tone could be strident and her fast passagework choppy. Countertenor/tenor Ryland Angel was miscast; much of the music lay at an awkward part of his range.
The production would have benefited from having a stage director to tie all the elements together. For example, the soloists and narrator Ken Bolden read from floppy binders, even as they interacted with each other; the experience was akin to watching the early rehearsal of a play.
A notable exception to the dramatic irregularities was the elegant baroque dancing of Tracy Cowart and choreographer Francesca Tortorello, which added authenticity and visual interest.
Elizabeth Bloom: ebloom@post-gazette.com or 412-263-1750.
First Published: April 12, 2016, 4:00 a.m.
