With ‘Ariodante,' Boston Baroque founding director Martin Pearlman exits on a high note
So it wasn't the best precedent for this weekend's 'Ariodante,' which already felt especially significant because it marks the final engagement of founder Martin Pearlman as the company's standing music director. So I'm glad to report that it's the company's most coherent and satisfying operatic endeavor that I've seen in the post-shutdown years, easily on par with 2019's campy, sexy 'L'incoronazione di Poppea' at Jordan; a satisfying cadence to honor Pearlman's final bow.
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'Ariodante' sees the company back in GBH's Calderwood Studio, and though it may never be a choice opera venue, it seems they've worked out some of the most important theatrical snags. Throughout Thursday evening, I never noticed the metallic ringing sound from the ceiling that often interrupted 2023's 'Iphigenie en Tauride.' Director Eve Summer kept the stage setup simple but effective, with singers in front, orchestra in back, and handsome projections by Camilla Tassi adding some visual interest at the rear. None of that nonsense from last year, in which Don Giovanni's Commendatore delivered climactic pronouncements while standing in what might as well have been Siberia.
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It's a good thing too, because the story of 'Ariodante' doesn't easily coast on dramatic momentum. To recap: It's a drama circa 1735 adapted from a segment of the Italian Renaissance epic 'Orlando furioso,' but it's set in Scotland. Hence the tartan costumes, which looked unfortunately wrinkled from every angle. (Is there an iron backstage?)
Ariodante (Megan Moore) and Princess Ginevra (Amanda Forsythe) are so crazy in love they spend an entire act of the opera singing about it. Ginevra's father the king (Brandon Cedel) blesses the match. The problem: Duke Polinesso (Ann McMahon Quintero) wants both Ginevra and the throne, even though Ginevra can't stand the man. So Polinesso takes advantage of the fact that Ginevra's maid Dalinda (Robin Johannsen) has a huge crush on him, and tells her to disguise herself as Ginevra and meet him in the garden on the night before Ginevra and Ariodante are supposed to get married.
Amanda Forsythe as Ginevra and Brandon Cedel as the King of Scotland.
Ken Yotsukura Photography
Because the rules of opera dictate that no one will ever recognize you if you change clothes (see also: 'Marriage of Figaro'; 'Rosenkavalier'), Ariodante immediately thinks Ginevra is creeping on him, and throws himself into the sea. Also because this is an opera, as well as the 18th century, everyone immediately suspects Ginevra was two-timing Ariodante, and she's imprisoned and condemned to death — unless a champion appears and proves her innocence in a trial by combat. Whew!
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It takes convincing acting and singing to pull this one off, but with those logistical obstacles out of the way, the singers were free to shine against the orchestra's gorgeous backdrop — which we could hear, hallelujah! The lineup of leads was a luxury cast, featuring a mix of newcomers to the company and familiar faces. In the latter category, Forsythe, a veteran Handelian, was luminous as per usual, radiating joy — and technically pristine melismas — in Act 1's amorous arias and duet with Ariodante. Quintero most often portrays matrons and crones, and she seemed to be having a lot of fun showing off her dramatic versatility in the trouser role of Polinesso. Her plummy, full contralto voice effectively conveyed the character's childish petulance.
Johanssen was initially winsome and girlish as the deceived Dalinda, rose gold in color to Forsythe's silver. Then she suddenly produced a stunner near the end of the opera in 'Neghittosi, or voi che fate,' calling down lightning on the treacherous Polinesso. (Here's an idea: Johanssen/Forsythe double bill of Baroque rage arias.) Cedel, already familiar to Boston Lyric Opera audiences, was a satisfyingly nuanced King, while recent Juilliard School graduate Richard Pittsinger made a compelling Lurcanio. Moore, in the title role, seemed to stumble over the athletic demands of 'Con l'ali di costanza,' but on the 1-10 scale of technical difficulty, that aria is probably a 12; even Joyce DiDonato has called it 'nearly unsingable,' so I left more impressed with Moore's unshakable poise and warm timbre. What's more, her 'Scherza infida' — the emotional apex of the role — was sublime, each syllable hanging heavy in the air like a branch covered with ice.
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The opera probably would have benefited from a few more judicious cuts; three hours is a lot to Handel. But what to cut? There's no one in the cast I would choose to hear less of. Just don't eat a heavy meal beforehand — or maybe have an espresso before showtime — and you'll be fine.
This 'Ariodante' is an achievement to take pride in as Pearlman departs, and hopefully one to build on in the future. Jordan Hall is undeniably a better acoustic environment, but Calderwood offers the cast and crew the chance to get comfortable in the rehearsal space without needing to pack in and out so quickly. In the meantime, consider me convinced that future operas at Calderwood might not actually be the worst idea.
BOSTON BAROQUE
'Ariodante.' At GBH Calderwood Studios Thursday.
A.Z. Madonna can be reached at
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With ‘Ariodante,' Boston Baroque founding director Martin Pearlman exits on a high note
So it wasn't the best precedent for this weekend's 'Ariodante,' which already felt especially significant because it marks the final engagement of founder Martin Pearlman as the company's standing music director. So I'm glad to report that it's the company's most coherent and satisfying operatic endeavor that I've seen in the post-shutdown years, easily on par with 2019's campy, sexy 'L'incoronazione di Poppea' at Jordan; a satisfying cadence to honor Pearlman's final bow. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up 'Ariodante' sees the company back in GBH's Calderwood Studio, and though it may never be a choice opera venue, it seems they've worked out some of the most important theatrical snags. Throughout Thursday evening, I never noticed the metallic ringing sound from the ceiling that often interrupted 2023's 'Iphigenie en Tauride.' Director Eve Summer kept the stage setup simple but effective, with singers in front, orchestra in back, and handsome projections by Camilla Tassi adding some visual interest at the rear. None of that nonsense from last year, in which Don Giovanni's Commendatore delivered climactic pronouncements while standing in what might as well have been Siberia. Advertisement It's a good thing too, because the story of 'Ariodante' doesn't easily coast on dramatic momentum. To recap: It's a drama circa 1735 adapted from a segment of the Italian Renaissance epic 'Orlando furioso,' but it's set in Scotland. Hence the tartan costumes, which looked unfortunately wrinkled from every angle. (Is there an iron backstage?) Ariodante (Megan Moore) and Princess Ginevra (Amanda Forsythe) are so crazy in love they spend an entire act of the opera singing about it. Ginevra's father the king (Brandon Cedel) blesses the match. The problem: Duke Polinesso (Ann McMahon Quintero) wants both Ginevra and the throne, even though Ginevra can't stand the man. So Polinesso takes advantage of the fact that Ginevra's maid Dalinda (Robin Johannsen) has a huge crush on him, and tells her to disguise herself as Ginevra and meet him in the garden on the night before Ginevra and Ariodante are supposed to get married. Amanda Forsythe as Ginevra and Brandon Cedel as the King of Scotland. Ken Yotsukura Photography Because the rules of opera dictate that no one will ever recognize you if you change clothes (see also: 'Marriage of Figaro'; 'Rosenkavalier'), Ariodante immediately thinks Ginevra is creeping on him, and throws himself into the sea. Also because this is an opera, as well as the 18th century, everyone immediately suspects Ginevra was two-timing Ariodante, and she's imprisoned and condemned to death — unless a champion appears and proves her innocence in a trial by combat. Whew! Advertisement It takes convincing acting and singing to pull this one off, but with those logistical obstacles out of the way, the singers were free to shine against the orchestra's gorgeous backdrop — which we could hear, hallelujah! The lineup of leads was a luxury cast, featuring a mix of newcomers to the company and familiar faces. In the latter category, Forsythe, a veteran Handelian, was luminous as per usual, radiating joy — and technically pristine melismas — in Act 1's amorous arias and duet with Ariodante. Quintero most often portrays matrons and crones, and she seemed to be having a lot of fun showing off her dramatic versatility in the trouser role of Polinesso. Her plummy, full contralto voice effectively conveyed the character's childish petulance. Johanssen was initially winsome and girlish as the deceived Dalinda, rose gold in color to Forsythe's silver. Then she suddenly produced a stunner near the end of the opera in 'Neghittosi, or voi che fate,' calling down lightning on the treacherous Polinesso. (Here's an idea: Johanssen/Forsythe double bill of Baroque rage arias.) Cedel, already familiar to Boston Lyric Opera audiences, was a satisfyingly nuanced King, while recent Juilliard School graduate Richard Pittsinger made a compelling Lurcanio. Moore, in the title role, seemed to stumble over the athletic demands of 'Con l'ali di costanza,' but on the 1-10 scale of technical difficulty, that aria is probably a 12; even Joyce DiDonato has called it 'nearly unsingable,' so I left more impressed with Moore's unshakable poise and warm timbre. What's more, her 'Scherza infida' — the emotional apex of the role — was sublime, each syllable hanging heavy in the air like a branch covered with ice. Advertisement The opera probably would have benefited from a few more judicious cuts; three hours is a lot to Handel. But what to cut? There's no one in the cast I would choose to hear less of. Just don't eat a heavy meal beforehand — or maybe have an espresso before showtime — and you'll be fine. This 'Ariodante' is an achievement to take pride in as Pearlman departs, and hopefully one to build on in the future. Jordan Hall is undeniably a better acoustic environment, but Calderwood offers the cast and crew the chance to get comfortable in the rehearsal space without needing to pack in and out so quickly. In the meantime, consider me convinced that future operas at Calderwood might not actually be the worst idea. BOSTON BAROQUE 'Ariodante.' At GBH Calderwood Studios Thursday. A.Z. Madonna can be reached at
