Glorious Revolution Baroque semi-staged a production of Dido & Aeneas last night to a sold out crowd in a small and intimate theater space in downtown St. Paul.  No sets, no fancy lights, but a wonderful small early music orchestra and very talented singers.

This was my first crack at The Sorceress and I loved the part.  How often can you stand up there with a custom made staff, a green velvet cape, a wild wig (not to mention some witchy minions) and take total command?  The intimacy of the space gave me the artistic freedom to interact with the audience and ‘stare’ them down as I made my way around the packed aisles.

I don’t have the opportunity to perform much in the theatrical arenas now that I sing primarily with The Rose Ensemble, so the chance to go all out with makeup, and push the character envelope was exhilarating.   She’s a force to be reckoned with, The Sorceress, and I’m thrilled I finally got to step into this role.

St. Paul Pioneer Press:

Bach premiered many of his works in a Leipzig coffee shop. Parties were often the first place you’d hear a new piece by Mozart or Schubert. So why not stage an opera in an artist’s loft in St. Paul’s Lowertown neighborhood?

But Friday night’s performance by a little group called Glorious Revolution Baroque also boasted the talents of world-class soprano Ellen Hargis and brought one of America’s major early music violinists, David Douglass, to town to lead the orchestra. Within the cozy confines of Studio Z — a space best known as the home of local new music ensemble Zeitgeist — they performed a version of Henry Purcell’s 1689 chamber opera, “Dido and Aeneas,” that was minimally staged but very entertaining and ultimately quite moving, thanks to Hargis’ touching final aria.

Most of the performers in the Glorious Revolution Baroque production had ties to local early music choir the Rose Ensemble. While that group does some fine work, most of their concerts consist of standing and singing. So their members were clearly excited to sink their teeth into the theatricality of an opera, their dramatic moments conveyed convincingly, their comedic turns a delight.

Based on a tale from Virgil’s “Aeneid,” this short opera follows the brief and ill-fated love affair of the Queen of Carthage and a Trojan prince, one disrupted and ultimately destroyed by the trickery of witches. As English baroque operas go, it’s the unquestioned masterpiece, and the Glorious Revolution musicians deserve kudos for avoiding an over-earnest interpretation. Friday’s intimate performance was tremendously fun but never gave short shrift to the sadness that comes with a sense of irreversible destiny.
Despite all of the streets being blocked off around the Northwestern Building’s entrance (as utilities continue to make room for light rail), a sellout crowd of about 100 squeezed into Studio Z for this one-time-only performance. While a local church may have accommodated a larger audience, the “house concert” feel of this production was something to be treasured, especially when the building’s resonant marble hallways were used for a chorus that (literally) echoed the one onstage or bore Hargis’ haunting final notes from earshot.

Hargis’ subtly powerful performance was complemented well by Tim O’Brien’s strong yet vulnerable Aeneas and the rich emotional range within Carrie Henneman Shaw’s portrayal of Dido’s sister and confidant, Belinda. Shaw also pulled this impressive production together, assembling quite a talented cast. – Ron Hubbard

Video was shot, and hopefully I will be able to post some photos soon.  In the meanwhile, if you were at the show, drop me a line.  I would love your feedback!