ESO’s adaptation of Purcell’s The Fairy Queen is nothing short of magic. A semi-opera, it explores Shakespeare’s A Midsummer Night’s Dream through an inventive baroque score, slipping in and out of a sequence of musical numbers and scenes from the original Shakespearean comedy. A demanding concept, Ella Reid’s careful direction blends both elements seamlessly into what can only be described as a feast for the senses.
The fairy chorus hosts a plethora of talented vocalists, with each giving spellbinding performances with consistent control of the operatic style. Alma Samocha’s soprano solos create a dramatic and thrilling atmosphere, blending beautifully with the rest of the choir.
The Shakespeare actors are similarly gifted, creating a simultaneously comedic and emotional plot. In particular, India Keane — who portrays the ever-so desperate and insecure Helena — does so with a near-perfect level of emotional nuance. Anaïs Prévost and Jack Grenngross’ collaboration as King Oberon and his quick-witted jester, Puck, is absolutely hilarious and infuses the story with playful mischief.
While the set design is more on the minimalistic side, it certainly doesn’t feel lacking. The colour scheme, drapery and floral detailing immerse us in this fantasy world, merging well with the semi-opera’s innately other-worldly nature.
What solidifies The Fairy Queen’s success is its formidable orchestra, conducted by the brilliant Kristine Donnan. The orchestra’s expert accompaniment of the operatic singers, as well as more interactive elements with the Shakespeare cast, makes it a unique dramatic partner to the performance. Despite certain scenes lingering for perhaps a minute or two too long, The Fairy Queen is a feat of student opera, thoughtfully balancing comedy with tender moments.
Photo by Andrew Morris, provided as press material.