The key to UnstuckOpera’s production of Dido and Aeneas: Recomposed, based on Henry Purcell’s Baroque opera of the same name, is the group’s name Unstuck and the qualifying word “decomposed” [sic] in the title, as that is exactly what has been done with this opera.

Yet not in any detrimental way, but rather to its enhancement, as the way it has been re-worked by the composer and musical director Alex Taylor and his team is both original and ingenious and adds many not-before-seen layers to the piece. [More] 

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A mostly older audience greeted this pared back, slightly twisted, contemporary take on Purcell’s remarkable work with great enthusiasm at BATS Theatre last night – as well they might. First presented over two years ago in Auckland, this production is a splendid 70 minutes of musical theatre, with many pleasures for the both the seasoned opera goer and those who are newer to the form.

The opera is recomposed in the sense that the very talented Alex Taylor has scored the piece for saxophones/clarinets, viola, bass and keyboards and mashed in some contemporary references, a little atonalism, some augmented chords and jazz interludes. Taylor though, has a fine sense of the essentials in the original and this recomposition works very well to enhance, in a subtly effective, Derek Jarman-like manner, the deeper continuity in artistic forms and concerns across the centuries.

Once or twice I think the atonal variations make things a little difficult for the small group of singers. But these performers meet all challenges with great technical skill, a warm and confident rapport with the audience and passage after passage of beautiful singing.

Amy Jansen’s Dido is a distinctive, complex character, with an effortlessly powerful and expressive soprano. Her entourage of Tamsyn Matchett as Belinda and Barbara Paterson as the second lady are also excellent in both their singing and acting, shading the ensemble pieces expertly and converting to witches with great verve and relish. Rhys Hingston as Aeneas has a lovely tone that makes his seduction of Dido all the more plausible – and he does a great job with a lot of falsetto singing as a witch. Alex Taylor displays even more versatility as conductor, baritone and the perverse, presiding spirit of the sorceress.

This is a promenade production with the action moving from the Propeller space at BATS to the foyer, the stairwell, the lovely Dome space upstairs and returning, via the back stairs to the Propeller. Apart from showing off what a great small theatre the renovated BATS is, the effect of this staging is a kind of deconstruction of the opera. Dramatically it brings out the playful, human aspect of the story. Musically, though, this deconstructive effect is particularly stimulating and enjoyable. So much relies on the voices when, for example, these are placed at several different levels over two stairwells and some distance from the band. But these polished performers are always in tune with the music and each other.

What a treat it is to have the drama of first rate operatic singing combine with such intimacy and acoustic awareness! The last fifteen minutes of the Opera, staged in the Propeller, bring these aspects of the production into spare, masterful focus, creating a climax of unusual impact. Jansen’s account of the great final aria is riveting and the epilogue has never been more moving.

If I have any quibbles with the production it is that Queen Dido’s levels early on could be dialled back just a little to suit the resonant Propeller space. And I miss another of the hits of the piece, the ‘Come away fellow sailors’ aria. Of course this is mainly for male voices and is no doubt cut for reasons of resource. But somehow one feels that the ingenious Mr Taylor could have managed it. Or perhaps that one more male voice would be justified.

But, then, this production is a marvel of economy in every sense, not least in the price of tickets.  In terms of economy too, special mention must be made of the band comprising Fiona McCabe, Debbie Rawson, Sophia Acheson and Simon Eastwood, who play with great polish and aplomb throughout.

This production shows us the shining bones, the authentic passion and the musical virtuosity of Purcell’s masterpiece. Totally memorable. Need one say more? 

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