NewOlde.com
Promoting Historically-Inspired Performances of Early Music and Baroque Opera

Home Page

Directory of Composers

Handel Operas

Handel Oratorios

Vivaldi Operas

Early Music Links

Reviews

Awards

Early Music Festivals

Early Music Performer Discographies

New Books on Early Music

Charpentier Discography

Upcoming Performances with HIP Staging

Early Music Mailing List Archives

About

Contact

Home » Early Music Reviews » Opera Lafayette & NY Baroque Dance Company Gluck, Armide Review

Gluck, Armide - Peformance by Opera Lafayette and the New York Baroque Dance Company

by John Wall

On February 3, 2010, Opera Lafayette and the New York Baroque Dance Company brought their lavish production of Christoph Gluck's Armide to the Rose Theater at Columbus Circle, New York (seating chart pdf). Armide (1777) was Gluck's fourth opera for Paris, and his first and only opera on a tragédie lyrique libretto, indeed the same 5-act Quinault libretto set by Lully in 1686. Two 18th Century scores of Gluck's Armide are accessible online here.

Musically, Armide is one of Gluck's three greatest Paris operas, along with Iphégenie en Tauride (1779) and Orphée et Eurydice (1774). It is richly scored for flutes, oboes, clarinets, bassoons, trumpets, horns, timpani, strings and harpsichord, and the vocal parts are of comparable quality and difficulty to the vocal parts in Gluck's Italian operas. For more information about Armide, see the liner notes by Mario Armellini included with the superb recording by Marc Minkowski on DG-Archiv.

Gluck's Armide presents difficult challenges for a HIP opera company, as it requires the great voices of a galant Italian opera, a large troupe of historically-inspired dancers, and a classical orchestra with accomplished soloists. Opera Lafayette succeeded brilliantly on all fronts, presenting the finest opera presentation I have yet seen in New York. Opera Lafayette again utilized the formula that has worked so well in previous productions. The singers concentrated on singing, with limited gesture, while costumed dancers from the New York Baroque Dance Company staged elaborate divertissements in each of the five acts.

To fit the opera into the three-hour window before union overtime kicks in, director Ryan Brown cut a few dances and choruses with solos, but tried to preserve as much as possible. In his program notes, he wrote "As a rule, French operas, whether Gluck's, Mozart's Idomeneo, or Berlioz's Les Troyens, seem ponderous and somehow amiss when their dances and/or divertissements are eliminated because the change in mood these divertissements provide from the intense actions of the principal characters is crucial to the emotional pacing of the works." Even though I had listened to Minkowski's recording the night before in preparation, I didn't notice the cuts but was captivated by the divertissements.

The notes by the Choreographer, Catherine Turocy, are so interesting that I am reproducing them below:

"There is no surviving period dance notation score from Jean Georges Noverre's original choreography for the dances of Armide. In fact, Noverre [1727-1810] was not a champion of dance notation as the system in use only recorded the steps of the dance and not the dramatic action. Hence, I have choreographed the work using steps described in the following treatises: Jean-Georges Noverre's Lettres sur La Danse et sur Les Ballets (published in Stuttgart in 1760), Gennaro Magri's Trattato teoricoprattico di hallo (published in Naples, 1779), and a 1782 unpublished manuscript of eight ballets and individual dances recorded in Feuillet notation and choreographed by Auguste Ferrère. The late 18th-century ballet style uses a 90 degree rotation of the legs, pointed and relaxed foot, complicated pirouettes with varying foot placements, full range leg extensions, and various expressive attitudes as well as acrobatic and virtuosic steps for grotesque characters.

"There are three genres of dance styles used in this production. In Acts I and V la danse noble et héroïque dominates and employs balancing on the points of the toes, the indeterminate pirouette where the dancer spins for as long as he is able, graceful attitudes of the body, as well as virtuosic dance passages described in Magri's book which are still in use today. The port de bras and high use of the arms are typical of the "high dancing" used on the stage at the end of the 18th century. Following the Italian tradition, pantomimic gestures associated with danza parlante are used mostly in Acts II and IV which are in la danse demi-caractère style. The more exaggerated and acrobatic Grotesco style works well with the music and the character of the demons in Act III. The use of the mask for dancers, although common practice on the French stage until the end of the 18th century, was not favored by Noverre. Therefore I only use the masks when the dancers are portraying Demons disguised as shepherds, shepherdesses and nymphs and when they are clearly Demons in Act III.

"Please note that as Magri says: "We moderns do not measure the cadence with the steps as did the ancients, for whom each step occupied one bar. We run more beats into one (dance) step and we put more steps into one bar." He later emphasizes that although the chaconne often begins in the staccato style and shifts to languido, fugato, sostenuto, andante, etc., the dancer should adapt his steps to the different moods of the music but the actual tempo remains constant through the shifting markings. He describes the chaconne as being one of the slower dances." (Ms. Turocy presented a paper at the Noverre Dance Symposium at New College, Oxford in April 2010. Abstracts.)

The result was the most enjoyably varied evening of historical dance I have had the privilege to see, which served as well as an educational comparison of differing features and traditions in late 18th Century dance. And alongside the fine divertissement stagings was a strong cast of singers who performed stylishly and effectively. Most impressive was Dominique Labelle in the dominant and difficult role of Armide.

The orchestra, comprised of leading early instrument musicians mainly from the Washington to New York corridor, sounded very well rehearsed. The Rose Theater was another star of the performance. It's the premiere venue in New York for early opera, with superb acoustics throughout. I was particularly impressed by the clarity of woodwinds sounds from the clarinets and flutes, and by the broad soundstage that can scarcely be approached by the most elaborate stereo systems.

In sum, I wish this performance were available on DVD for repeated enjoyment.


Armide

Opera Lafayette

Ryan Brown, Conductor

Catherine Turocy, Choreographer

Armide: Dominique Labelle, soprano

Renaud: William Burden, tenor

La Haine: Stephanie Houtzeel, mezzo-soprano

Sidonie, Lucinde, Un Plaisir: Judith van Wanroij, soprano

Phénice, Mélisse, Une Bergère: Nathalie Paulin, soprano

Artémidore, Le Chevalier Danois: Robert Getchell, tenor

Hidraot: William Sharp, baritone

Aronte, Ubalde: Darren Perry*, baritone

La Naïade: Adria McCulloch*, soprano

Les Coryphées: Stacey Mastrian,** Barbara Hollinshead, Adam Hall,** Eric Christopher Black**

*Graduate, Opera Lafayette Young Artists Program
**Member, Opera Lafayette Young Artists Program

Opera Lafayette Orchestra and Chorus

The New York Baroque Dance Company
Catherine Turocy, Artistic Director
Caroline Copeland, Joy Havens, Rachel List, Terence Duncan, Junichi Fukuda, Jason Melms, dancers

Act I
Armide est encore plus aimable: the company
Andante: the company
Pour suivons jusqu' au trépas: the company

Act II
Plus j'observe ces lieux: Ms. Copeland and Ms. Havens
Au temps heureux où l'on sait plaire: Ms. List, Ms. Havens, and Ms. Copeland
Moderato: the company
Ah! Quelle erreur chorus: the company
Ah! Quelle erreur duet: Ms. Copeland and Mr. Duncan

Act III
Andante (I): Mr. Duncan, Mr. Fukuda and Mr. Melms
Andante (II): Mr. Duncan, Mr. Fukuda and Mr. Melms

Act IV
Musette: Ms. Copeland

Act V
Chaconne: the company
Gracieux: Ms. List
Air sicilien: Ms. Copeland
Chaconne: the company

Tonight's choreography by Catherine Turocy was commissioned by Opera Lafayette and is a world premiere. Costumes by Marie Anne Chiment and Catherine Turocy.

Opera Lafayette Orchestra

Violins
Claire Jolivet, concertmaster
Alexandra Eddy
Nina Falk
Gesa Kordes
Theresa Salomon
Christof Richter
Anthony Martin
Joseph Edelberg
Elizabeth Field*
June Huang
Leslie Nero
Leslie Silverfine
Peter Kupfer
Anca Nicolau

Violas
Jessica Troy*
C. Ann Loud
Martha Perry
Henry Valoris

Violoncellos
Loretta O'Sullivan*
Nancy Jo Snider**
Alice Robbins
John Moran

Basses
Anthony Manzo*
John Feeney

Flutes
Colin St. Martin*
Kathryn Roth

Oboes
Washington McClain*
Margaret Owens

Clarinets
Nina Stern*
Diane Heffner

Bassoons
Anna Marsh*
Stephanie Corwin

Horns
Todd Williams*
Linda Dempf

Trumpets
Barry Bauguess*
Dennis Ferry

Timpani
Michelle Humphreys

Harpsichord
Andrew Appel

* Principal
**Orchestra Personnel Manager

Opera Lafayette Chorus

Sopranos
Brooke Evers*
Stacey Mastrian*
Adria McCulloch**
Joan McFarland***
Rebecca Kellerman Petretta
Sara Woodward

Altos
Marjorie Bunday
Anne-Marieke Evers
Barbara Hollinshead
Roger Isaacs

Tenors
Gary Glick
Adam Hall*
Jerry Kavinski
Jason Rylander

Basses
Eric Christopher Black*
Charles Bowers
William Brubeck
Steven Combs
James Shaffran
Thierry van Bastelaer

*Member, Opera Lafayette Young Artists Program
**Graduate, Opera Lafayette Young Artists Program
***Chorus Personnel Manager


Copyright © 2002-2014 John Wall