Daniella Caveney (l) and Lily Bogas (A. Wasserman photo)

PURCELL'S DIDO IN YOUTHFUL SSU OPERA

A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the university at the Green Music Center (the first was faculty member Brian Wilson’s one-act Agamemnon in 2014). For now, a second performance of Dido and Aeneas may take place next spring.

The vocal lineup was all Sonoma State students but two: Lily Bogas, a 16-year-old student at Tamalpais High School in Mill Valley, sang the role of Dido, the Queen of Carthage, with passion, queenly poise and a beautiful soprano voice; and soprano Daniella Caveney was brought in as a chorus member to bulk up the sound of the Chorus, which was bare-bones, numbering only five singers that were joined between duets and trios by most of the principals. It was a wise choice.

Dido and Aeneas is often presented as a concert performance, but not here. The work from 1689 was fully staged, featuring characterizations, dramatic action, mime, choreography, costumes, and set, with lighting and props. The costume of the Sorceress (black bustier, tights, cloak and a cape of dark feathers) was a standout. Dido’s lady-in-waiting’s dress was a little fancier than her sister Belinda’s dress, and because both were grooming Dido and singing to her, and there was no libretto in the program, initial confusion followed.

Purcell’s first and only true opera can be successfully scaled down, as this production showed. Joining Mr. Gordin in a tiny orchestra of four instruments were Caleb Forschen, violin; cellist Brynn Dally; and Emma Webb, organ. Ms. Webb’s organ part was her terrific evocation of a storm, which is brought on by the Witches to separate Dido and Aeneas in Act I, Scene 2.

This opera lends itself to youthful voices. The young singers' breath control and pitch accuracy were impressive. Along with Ms. Bogas’ exquisite Dido there were lovely performances by soprano Janell Balico (Belinda) and by mezzo-soprano Rachel Levin as the evil Sorceress who wants to destroy Dido. Soprano Anna Leach sang beautifully as Dido’s lady-in-waiting; baritone Jack Adkins was a handsome and conflicted Aeneas; and tenor Mathew Adiao performed a elegant aria “Come Away, Fellow Sailors,” with precise enunciation. The two Witches, minions of the Sorceress, were sung with sweet malice by sopranos Jennifer Silvera and Alexandria Alonzo.

The narrative sweep of the opera leaves something to be desired, as there are many spaces that could be filled dramatically, but the drama hinges on the passionate love that is sparked between Dido and Aeneas. Eros was not an element explored in this production as much as the supernatural. Though the story is based on Virgil’s Aenead, it’s a tale of magical manipulation and poor choices by mortals, royal though they may be.

The Sorceress’s Elf, who impersonates Mercury to convince Aeneas to abandon Dido, is a singing part for counter-tenor or mezzo-soprano. In this production chorus member Joshua Lovell as Elf/Mercury had to stand silently as the Sorceress, like a ventriloquist, delivered his message from a balcony above. This somewhat drained the moment, and it might have worked better for Ms. Levin to sing directly behind Mr. Lovell, showing that he is her creature. High points in the music were many. They included the Act I duet between Belinda and Dido’s lady-in-waiting, “Fear No Danger to Ensue”; the wonderful and sinister “The Queen of Carthage” (“Ha Ha Ha”), sung by the Sorceress, Witches and Chorus; and Dido’s glorious tragic lament “When I Am Laid in Earth”.

The audience, which included many family members and friends of the cast, gave the performers a standing ovation, and then surrounded them in the post-concert lobby with love and celebratory flowers.