Interludes

THE HANGOVER REPORT– In its unfussiness, Les Arts Florissants’ RAMEAU, MAÎTRE À DANSER proves invigorating

• By drediman
• March 2, 2019
• No Comments

William Christie and his Les Arts Florissants perform “Rameau, Maître à Danser” at the BAM Howard Gilman Opera House. Photo by Richard Termine.

This weekend, I caught William Christie’s exquisite 24-member baroque chamber music ensemble Les Arts Florissants perform an operatic double bill by Jean-Philippe Rameau at the Brooklyn Academy of Music’s Howard Gilman Opera House. Mr. Christie and his ensemble have been rightfully acclaimed for their soulful reverence for early classical music. Last night’s performance (staged by Sophie Daneman), which was co-produced by Théâtre de Caen under the umbrella title Rameau, maître à danser (which translates to “Rameau, dancing master”), showed why.

Although I would perhaps argue that BAM’s opera house is too large of a venue for this intimate, lightweight program (in fact, Rameau, maître à danser be ideal for the Harvey), I nonetheless found it to be richly satisfying. The double bill is comprised of two one act “opera-ballets”, La naissance d’Osiris and Daphnis et Églé, both lovely meditations on love – in all its prismatic glories and mysteries – vis-à-vis the anticipation for the similarly glorious and mysterious spring. Mr. Christie and his sublime ensemble, including a small roster of young, beautifully-trained singers, played and sang both Rameau scores with their trademark ease and radiance. Indeed, their music-making cast a soft spell that was refreshing in its unfussiness.

As for the period choreography (by Françoise Denieau, under the guidance of Gilles Poirier for this revival), I appreciated its sweet, authentic attentiveness to the music. The dancing here is far less monumental than, say, what you’d encounter from the full-out technical prowess of New York City Ballet. For example, the dancers’ legs never lift above the ears, creating lines that are radical in their conservatism and intrinsic musicality. That’s exactly the kind of rich but modestly-scaled (with really no set to speak of and just a few props) enchantment afforded by the evening at large, which may not be to everyone’s taste. In its astonishing self-awareness and unassuming confidence, Rameau, maître à danser proved genuinely invigorating, like spring itself.

RECOMMENDED

RAMEAU, MAÎTRE À DANSER
Opera / Ballet
Théâtre de Caen and Les Arts Florissants at BAM Howard Gilman Opera House
2 hours (with one intermission)
Through March 3