‘Magical. Joyous. Opera Atelier exquisitely transports their audiences away with glorious storytelling.”
(Please note that I do not have any background in the art of opera, so it wouldn’t be fair to comment on the singing or the dancing. Instead, I will focus on the dramatic on-stage presentation at Toronto’s Elgin Theatre.)
“Acis and Galatea” is a pastoral opera by composer Handel, based on Ovid’s tale of the water nymph Galatea (Meghan Lindsay) and her ill-fated love for the Arcadian shepherd, Acis (Antonin Rondepierre). The mischievous spirit Damon (Blaise Rantoanina) acts like Shakespeare’s Puck from “A Midsummer Night’s Dream.” Damon causes confusion for the lovers. Later in Act Two, we encounter the monstrous cyclops Polyphemus (Douglas Williams), who has also fallen in love with Galatea. However, she chooses to reject his advances, which insults him foolishly.
While Damon continues to create confusion in all three characters, Polyphemus realizes Acis has become his rival for Galatea’s affection. When Polyphemus recognizes that he can’t have his true love, neither will Acis. The monstrous cyclops then crushes Acis with a boulder in rage. As a fitting tribute to her true love, Acis, Galatea resurrects him as a water fountain celebrating their love for each other.
What impresses me most about an Opera Atelier production, especially this staging of ‘Acis and Galatea’, is the sheer joy in the singing, even amidst the heartbreak and tragedy.
Gerard Gauci’s remarkable set design, depicting a pastoral country setting, is beautifully enhanced by Kimberly Purtell’s careful selection of colours, hues, and tints. Gauci’s exquisite costume designs thoughtfully reflect the innate character traits of the four main characters. Rondespierre’s earth tones perfectly suit his role as a shepherd, while Lindsay’s stunning aqua-marine gown symbolizes her connection to the water.
Under Christopher Bagan’s highly competent work as conductor, David Fallis’s music direction extraordinarily soars to the heights of the Elgin Theatre. The Nathaniel Dett Chorale sound heavenly. There are moments when I closed my eyes as I wanted to allow the music to take me awary. Jeannette Lajeunesse Zingg’s choreography is lovely to watch. Marshall Pynkoski’s direction is vibrant and lively. He keeps the pacing blissfully moving along.
The singers are outstanding. They sound marvellous to my untrained ear. The Atelier Ballet artists are graceful.
Meghan Lindsay’s stunning vocal work as the water nymph Galatea is astonishing. There are moments when I could feel goosebumps on my arms. Anton Rondepierre is a dashing Acis full of boyish charm. I find myself rooting for the lovers upon their first introduction. Blaise Rantoanina is a spritely Damon. He glides and moves with the greatest of ease, sometimes crossing the stage at breakneck speed.
Douglas Williams is a wonder as the villain Polyphemus. Terrific fun at the top of Act 2. He doesn’t steal the show from the other three protagonists, but he comes close to doing so.
How does he achieve this? In a fittingly comical introduction, Pynkoski directs Williams to enter from the audience rather than from stage left or right. This is a fantastic choice by Pynkoski. Although I couldn’t see him, it seemed Williams had entered from the stage left aisle. Was he perhaps engaging with the audience on that side? There was a lot of laughter, which made me wonder.
In a surprising turn of events in the plot, Williams shows his power as a stage performer. The initial humor he expresses sharply shifts to fear when he decides that if he cannot have Galatea, then no one else shall.
Opera Atelier’s run is short, but it’s well worth a visit, especially since the company celebrates its 40th season this year.
‘David and Jonathan’ will be performed next year, and I’m most interested in seeing it.
‘Acis and Galatea’ runs October 24-27 at Toronto’s Elgin Theatre.
To learn more about the company, visit operaatelier.com.
OPERA ATELIER presents
ACIS AND GALATEA by G. F. Handel
Conductor: Christopher Bagan
Stage Director: Marshall Pynkoski
Choreographer: Jeannette Lajeunesse Zingg
Set and Costume Designer: Gerard Gauci
Resident Music Director: David Fallis
Production Stage Manager: Kat Chin
Performers: The Nathaniel Dett Chorale, Antonin Rondepierre, Meghan Lindsay, Blaise Rantoanina, Douglas Williams.
