Stravinsky and Purcell

Friday evening past, and Sunday afternoon, I took myself to the Conservatory for their final opera performances of the season, Stravinsky's 'Mavra', and Purcell's 'Dido and Aeneas'. I had not known about 'Mavra', a charming, short (25 minutes) comedy, complete with a hulking soldier character, Vasilli, whose quick change into drag as Mavra, as demure and 'feminine' a housemaid as one could imagine, he accomplished with skill, aplomb, and panache. He carried the piece. The unusual arrangement, for double bass, piano, French horn, clarinet, and bassoon, supported the comic mood.

But unalloyed joy cannot last. On to 'Dido and Aeneas', which began in love and ended in suicide. (Why are operatic characters thwarted in love, women usually, expected to die tragically?). An impressive production, with a simple set and modern dress; the chorus went from business suits to jacketless casual to sailor shirts and back to jackets with great efficiency, when they weren't singing or rearranging the furniture. The singers were splendid of course, and the baroque orchestra equally so. Dido sang her Lament with great feeling. A good time was had by all. (2.V.17)