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The opera was written to celebrate King Louis XV’s victory in the Battle of Fontenoy, but the pairing of Rameau and Voltaire was an uneasy one. Not surprisingly, the libretto’s thinly veiled suggestion that kings earn the loyalty of their subjects with benevolence, not conquest, met with a tepid response. Its depiction of Bélus and Bacchus as bellicose, perpetually inebriated and possibly promiscuous didn’t sit well with the king. Rameau hastily revised the opera in 1746, but McGegan is using the original, more pointed, version, from Rameau’s own manuscript, owned by UC Berkeley and housed in the university’s Jean Gray Hargrove Music Library pink ballet shoes walmart. Today, the message comes across brilliantly..
Friday’s opening benefited from expert leadership by McGegan in the pit, and lavish stage direction and choreography by Catherine Turocy, whose New York Baroque Dance Company brought a vivacious corps of artists able to navigate the gigues, gavottes, forlanes and other French dance forms specific to the score. Scott Blake’s set, augmented by Pierre Dupouey’s atmospheric lighting, turned the Zellerbach stage into an 18th century proscenium theater ornately framed in gold leaf. Projected backdrops suggested palace interiors and pastoral scenes, and the special effects were striking — in one scene, a group of muses danced downstage, while their projected images floated overhead pink ballet shoes walmart.
McGegan conducted with his trademark verve and attention to detail, drawing forceful orchestral responses in the triumphant music and gentle, opulent sound in the pastoral scenes. The singers, decked out in Marie Anne Chiment’s rich-toned costumes, were magnificent. Baritone Philippe-Nicolas Martin was an emphatic Bélus, and soprano Chantal Santon-Jeffery, who sang expressively in her extended first act aria as his scorned lover, Lydie, returned in the third act as the dazzling embodiment of Glory pink ballet shoes walmart.
Introduced in a ribald episode dominated by a giant ostrich, the high-voiced haute-contre Artavazd Sargsyan made an agile Bacchus. Soprano Camille Ortiz-Lafont was an alluring Érigone. Aaron Sheehan sounded elegant as Trajan, who, once he wins the contest, dedicates the Temple of Glory to the public good. Gabrielle Philiponet was an insinuating Plautine. The large supporting cast played muses, demons, satyrs, kings, nymphs and shepherds, gods and warriors. Rameau’s score scarcely resembles “modern” opera — there’s not a lot of extended action, and no great psychological depth. In one sense, this is an arcane piece, an artifact of a distant era pink ballet shoes walmart.
Yet, in this production, “The Temple of Glory” came across with considerable impact. As characters sang about killing their enemies and poisoning the land, the opera began to resonate as oddly contemporary. When one insisted that “tyrants know no shame,” it might as well have been new. PHILHARMONIA BAROQUE. Presenting Rameau’s “Le Temple de la Gloire”. When: 8 p.m. April 29, 3 p.m. April 30. Where: Zellerbach Hall, UC Berkeley pink ballet shoes walmart. Running time: 3 hours, with one intermission..