|Peter Paul Rubens, Jupiter and Callisto, 1613|
|Carracci, Diana and Endymion, from "The Loves of the Gods"|
Marcy Richardson, then, sang the roles of Diana and Jove-masquerading-as-Diana with distinctive characterizations and equal panache. Her opening phrases, as Eternity, seemed a bit tenative, but soon after she settled into an extraordinarily vivid, vocally impressive performance. In her dual role, Richardson was on stage for a great deal of the opera, with significant vocal and dramatic demands made upon her. She rose to the occasion with style. Diana's rage and tenderness were alike convincing, and the king of the gods was, er, jovially caddish. In the title role, Holly Gash wielded a rich lyric soprano with nicely expressive phrasing. In the narrative of her sensual awakening and its punishment, I kept expecting--hoping--that Calisto would show some rage, some profound passion in the aftermath of desire. But in this baroque concoction, she is content to receive the consolations of immortality.
|A helpful sign: opera in "1st alley on left"|
|Et in Arcadia graffiti|
|Stage, musicians, audience|