Beaune International Festival of Baroque Opera

Abstract

Among the plethora of summer music festivals in France, that at the delightful town of Beaune, not far south of Dijon in Burgundy, must rate among the most innovative and impressive in both quality of repertory and of execution. The reason for Beaune's unity of purpose and high standards is not far to seek: throughout its 26 years it has been the vision of one person of remarkable foresight and energy, Anne Blanchard. The substantial subventions she has managed to obtain facilitate not only the festival's concert performances of Baroque operas (many rarely performed elsewhere), but also its important sectors of sacred music and instrumental works. Equally notable is Blanchard's commitment to showcasing the best of young soloists and conductors on their way to fame, alongside those already well established. The second weekend of this year's festival was typical of this diverse approach. Friday evening's programme included a persuasive and stylish interpretation of Purcell's Dido and Aeneas, with Paul McCreesh unobtrusively directing his Gabrieli Consort and Players. If almost the whole cast were English performers for whom Purcell is mother's milk, the Zagreb soprano, Renata Pokupic, was a committed and convincing Dido with a clarity of enunciation that sopranos in the minor roles could have emulated to advantage. Ronan Collett did the best one can with the rather pallid character of Aeneas, while the countertenor Daniel Taylor's Sorceress balanced evil and humour in a very plausible, entertaining and energetic characterization. The chorus managed their changes of mood with skill and gilt-edged diction, while balance between singers and players always permitted the former to be heard. All in all, this was a Dido and Aeneas to be remembered. The first half of the evening, consisting of three of Purcell's finest anthems (My beloved spake, Let mine eyes run down with tears and O sing unto the Lord), gave us a chance to hear some of the outstanding solo singers in the Oxbridge-style chorus, most notably the bass, William Gaunt.