The Poignant and Perplexing Power of Love

The notion of star-crossed lovers is so ingrained in the collective hearts and minds of the modern romance-chasing public that it has almost become synonymous with the idea of soul-mates, in spite of the less-than-fortuitous definition of the term. Yearning, twisting, the contemporary populace finds an ironic solace in a term reserved for those who fight against the cruelty of the cosmos and ultimately lose.

Opera, on the other hand, makes no such mistakes. العاب قمار As the birthplace and springboard of numerous, iconic tragic couples, it instead embraces and even augments it. Is true love seldom tragic? Perhaps, perhaps not; but the torrent tales of tumultuous and traitorous trysts – of trying times and tender tears – top the table of topics at the theatre.

In the two weeks surrounding Saint Valentine’s Day, Opera Manhattan Repertory Theatre, Inc. seeks to celebrate this proud tradition of love and loss by presenting a festival of One-Act performances, dedicated to lovers thwarted by fate to stay apart, as well as the maddening might of all-encompassing amour.

Dido and Aeneas

Though often imitated in other media, the tragic figure of Dido (or Elissa, as she is often called) – queen of Carthage – leaves little question on her place in the hierarchy of romantically woeful leading ladies. Statuesque and obdurately proud, the ancient monarch consistently and mercilessly continues to invade screens, pages and even titles of various works of art, though her first and most famous mention is arguably by the Roman poet Virgil.

Still vulnerable from the death of her husband, she reluctantly falls in love with Aeneas, a hero from the recently fallen Troy. 1xbet arabic Unfortunately, the latter is destined to found Rome and – at the persistent prodding of the gods – must then leave his preferred paramour, a betrayal that ultimately leads to her suicide.

In the late seventeenth century, Henry Purcell wrote an opera commemorating the perished pair based on an earlier play by Christopher Marlowe. Though the differences between Purcell’s dramatic score and Virgil’s original text are considerable, the shattering impact of the performance by the respective talents at Opera Manhattan Repertory Theatre, Inc., directed by Erin Smiley, was nearly as intense.

A tragically somber overture – performed by musical director Emily Leather – marked the remaining tone for the opera. It began with a solemn Dido (Elspeth Davis) lamenting her growing affection for Aeneas (Vaughn Lindquist), though she was nearly immediately relieved by her handmaiden, Belinda (Laura Strickling), and the rest of her court.

As the two grew closer, surrounding intrigue ultimately sealed their fate and led to the awaited conclusion, with stalwart Dido withering at her funeral pyre as she watched her lover’s ship disappear in the horizon. لعبة القمار بوكر

Instead of legitimate divine intervention, however, the role of romantic meddler was given to the local sorceress (Tyler Wayne Smith) and her two helper witches (Carina Zabrodsky, Sina Lewis), who sought to take down the entire city of Carthage through its erstwhile susceptible leader, in one of the most engaging numbers in the production, as the three cackle, “Elissa dies tonight, and Carthage flames tomorrow.”

A devastatingly fearsome counter-tenor, Smith was utterly fantastic in the role of the sorceress. Possessing a decadent elegance, as well as a rich and commanding voice, he cast little doubt of his ability to hypnotize not just the hero – but a vast variety of audience members, as well.

Strickling was utterly charming as the bubbly Belinda, with engaging, expressive eyes and a delightful trill, and Lindquist held a commendable air of passion as the tortured Aeneas.

Pure strength of vocals for the performance undeniably went to Davis, whose Dido was a tragic, powerful force as the ancient heroine. Her eyes alight with a wistful sorrow at her conclusive aria; she left a profoundly devastating impact through the infectious sadness of her forlorn form and the admirably ardent timbre of her gorgeous voice.

As the weary mezzo-soprano sang “Remember me; forget my fate,” a cloud of irony settled on the stage, as the truth of those first two words would surely settle in her future.

The night of lovelorn festivities did not end with “Dido and Aeneas,” however. Stay tuned for reviews of “Erwartung” and “Bluebeard’s Castle.”

Photo courtesy of Eric Hazard.