Iryna Ilnytska: 'Dido & Aeneas' Mary Harris Chapel Saturday 25 January 2025 (and news of 'Orfeo ed Euridice' St Stephen's Church Saturday 1 February)

DIDO & AENEAS
Mary Harris Memorial Chapel
Saturday 25 January 2025
Lee Andraea is Dido's husband AENEAS
Kara Malton is Dido's sister BELINDA
Iryna Ilnytska is QUEEN DIDO OF CARTHAGE

Ukrainian operatic mezzosoprano Iryna Ilnytska and a group of like-minded musical friends have been putting on regular short concerts of operatic highlights for some years now. The theme of love often features. (Their collection 'Aspects of Love' will be presented at a special lunchtime concert at Exeter Cathedral on Valentine's Day (15 February) this year.)

For ten years now, Iryna has also joined Jane Anderson-Brown and the 'Red Earth Opera' company for full opera productions. She was Idomenea in 'Idamante' and Lola in 'Cavalleria Rusticana', and more recently joined Jane in directing Gaetano Donizetti's 'Elisir d'Amore'. Conversely singers from Red Earth have joined many of Iryna's recitals.

In 2024 work began on an opera directed by Iryna, with Nick Lawrence from Somerset Opera. Jane Anderson-Brown joined the cast along with Melanie Mehta, Kara Malton, and Lee Andraea and Susan Gunn-Johnson who are members of the St David's Players (famous for their Gilbert and Sullivan productions at the Barnfield Theatre), all to the accompaniment of John Draisey's virtuoso piano accompaniment.

Their choice was the most famous opera composed by seventeenth century Gentleman of the Chapel Royal, Henry Purcell - 'Dido and Aeneas'. This story follows the brief marriage of Dido, widow of King Sychaeus of Tyre, and Aeneas hero of the Trojan wars, as imagined by the pre-Christian author Publius Vergilius Maro (Virgil) in his epic poem, 'The Aeneid', dramatised in the libretto of Purcell's contemporary, Poet Laureate Nahum Tate.

Piano Orchestration: John Draisey

Central to the production is Purcell's orchestration. The reponsibility for this music fell, in this instance, to a single accompanist, John Draisey, on the piano. Much credit goes to John for all his work in rehearsals and his flawless performance at the two performances - one at St Nicholas' Priory on Saturday 18 January and a second at the Mary Harris Memorial Chapel on the University of Exeter Streatham Campus on Saturday 25 January.

Not only was John hard at work throughout the opera, but also accompanied arias from other Purcell operas in the second half of the concert.

"Shake the cloud from off your brow."
Belinda: Kara Malton

For the sake of brevity the prologue was omitted and John opened the performance with the overture, a delightful musical summary of the story which also allowed time for the supporting performers and chorus to assemble on stage and process to the rear of the audience. En route there was time for some beautifully choreographed baroque dancing in the nave, between the two banks of pews where the audience were sitting. One suspects the hand of St David's Players' choreographer Susan Gunn-Johnson at work here.

As the players returned to the stage Queen Dido herself appeared, played by Iryna Ilnytska, and accompanied by her sister Belinda (Kara Malton).

"I languish till my grief is known."
Queen Dido: Iryna Ilnytska

Queen Dido is extremely downcast, despite Belinda's attempts at levity, recounting the Queen's triumph over the tragedy of the murder of her husband Sychaeus, and the usurping of her throne in Tyre by the murderer, her brother Pigmalion. In the intervening time Dido has managed to establish another empire for herself in North Africa, in the ancient city of Carthage (part of modern Tunisia).

Dido cannot shake off her despair, however, and responds with the very moving aria describing her overwhelming grief, and the pain of having to keep it secret from her new subjects. Belinda encourages her sister to share her sadness, and to embrace the compensatory prospect of the visiting Trojan hero Aeneas presenting the possibility of marriage and a new happiness.

A scribe records all: Sara Trumper

In a familiar operatic tradition, a silent mime is present to observe and record the entire interaction. a member of chorus, Sara Trumper, in clerical robes sits at a desk and makes a record of everything with quill and parchment.

Although the story is pure supposition by Virgil, the idea of written records reminds the audience of the possibility that they are witnessing a performance which is the enactment of real events from the past.

"The hero loves as well as you."
2nd Woman: Melanie Mehta

To counter the Queen's adamant insistence of the hopelessness of her situation, further voices are added to Belinda's entreaties. Another well-known local operatic soloist, Melanie Mehta, appears as the strangely unspecified '2nd Woman' and, joined by the voices of the chorus, reinforces Belinda's optimistic vision of Dido's future in a new marriage.

"Aeneas has no fate but you!"
Aeneas: Lee Andraea

Right on cue a royal retinue approach and Belinda introduces the Queen's suitor, Aeneas. Lee Andraea, in his light high tenor voice begins his ardent declaration of love. Dido, still reluctant to abandon her widow's melancholy, initially remains aloof and impervious to his blandishments.

"If not for mine, for empire's sake . . . "

However, Aeneas redoubles his efforts and tries to elicit Dido's sympathy, arguing that he will be equally distraught without her and perhaps lose his own kingdom. Dido is finally persuaded and diffidently accepts his marriage token, somewhat dismissively passing it to Belinda for safe keeping. Iryna demonstrates that impossible combination demanded of all operatic performers - perfect pitch and diction combined with masterful dramatic expression.

"Harm's our delight, and mischief all our skill."
Sorceress: Jane Anderson-Brown
Imps: Emily Grossman, Susan Gunn-Johnson

Of course, Greek theatre never limits itself to a mere romantic relationships. There always have to be malign unseen forces at work. Here these take the form of three mendacious sisters, evil spirits determined to turn the happiness of the new couple to despair. Jane Anderson-Brown is the leading sorceress, accompanied by her two enchantress minions played by Susan Gunn-Johnson and Emily Grossman, who compete to be the more villainous.

For reasons which are not explained they hatch a 

"Hark! how thunder
rends the mountain oaks asunder."

sadistic plot to deceive Aeneas into unnecessarily sailing for Troy to defend his kingdom, in the confident expectation that the separation will bring about Queen Dido's final desolation and demise.

In a masterpiece of dramatic irony the witches attend Dido and Aeneas' hunting party unseen, except by the audience, and revel in the cruel plan they have devised for the unfortunate couple. First they must conjure a storm to get Aeneas back to court . . .

"Jove's commands shall be obey'd."
Hermes: Emily Grossman

The two imps now begin an elaborate bit of 'business' attempting to fit golden wings to Emily Grossman's head-dress in order to pass her off as Hermes, the messenger of the gods. The wings do not fit and Emily ends up holding them aloft in a very unconvincing way. By these means it is made clear how gullible Aeneas is, to have been taken in by such a transparent ruse.

"Come away fellow sailors."
Sailor: Cressida Whitton

Another familiar feature of Greek theatre is the inexorability of the tragic outcome. However, Aeneas' spurious mission introduces the prospect of a sea voyage and there is the opportunity for a little comic relief as the sailors assemble for the forthcoming journey.

"Silence their mourning
with vows of returning."
Sailors' Dance: Megan Debenham

Cressida Whitton invades the stage to regale the audience with the bawdy song of a carefree sailor. The chorus join in, dressed in duffle coats and toting seamanlike coils of rope. Their selfish song of how they will promise their sweethearts to return, with no intention whatever to keep that promise, painfully echo the fate that awaits poor Dido.

"To death I'll fly if longer
you delay. Away, away!"

But that is more than enough levity. The fiendish sisters join the dance, crowing about the storm they'll call up to convince Dido that Aeneas has been drowned at sea.

The story resumes with a brief scene between Dido and Aeneas. He rebuffs her plea that he stay by insisting that he has been commanded by the gods to leave. But then he vacillates, offering to defy the gods in order to stay with Dido. However, she is now resolute and insists that the die is cast and he must leave.

Remember me!
Queen Dido: Iryna Ilnytska

Now the scene is set for Purcell's most famous aria. Poor Dido, utterly bereft and without hope, sings of her own death and how her only hope is to be remembered well.

'Dido's Lament' is unforgettable: "When I am laid in earth, may my wrongs create no trouble in thy breast. Remember me! But, ah! forget my fate."

"Death is now a welcome guest."

Iryna has often performed this aria for us as an extract for a recital, but here the full import of her words are made clear by the dramatic build up. As she sings so beautifully Iryna also gives a stunning performance as the heart-broken heroine unable to bear her grief any longer. She and the audience weep in response to her hopeless desperation.

"When I am laid in earth"

Suddenly, as the lament closes, the Queen produces some container of poison and quickly swallows it. As

"Forget my fate."

she dies her sister Belinda and the 2nd woman come forward and draw a funeral shroud over her face. As this devastating scene plays out the chorus return to sing her elegy.

"With drooping wing ye Cupids come,

"And scatter roses o'er her tomb,

"Soft and gentle as her heart;

"Keep here your watch, and never part."

"With drooping wings
ye Cupids come"
Summer Bindley-Carr

Rather than scattering roses, one of the chorus - Summer Bindley-Carr - honours the dead Queen by kneeling at her throne and holding up an outline of a heart in the colours of the Ukrainian national flag. A fitting memorial to the troubled love of our heroes.

"Keep your watch
and never part."

As John Draisey played the final phrases of Purcell's concluding music the cast withdrew leaving Summer alone standing reverently in memory of Dido - and Aeneas.

All that remained was for the cast to return to the stage to receive the appreciation of the audience, while Cressida distributed posies in recognition of the contributions of each singer, down to Summer herself, for her final appearance - and especially the hardest working member of the entire company, the piano accompanist John Draisey.

Bouquets to express gratitude to the stars
Dido & Aeneas: Iryna Ilnytska & Lee Andraea

 . . . and all the cast

especially the pianist: John Draisey

Many thanks to the two Directors, Nick Lawrence and Iryna Ilnytska, and everyone involved in creating this performance. Thanks also to the University of Exeter for the use of such a magnificent venue with its memorable atmosphere and excellent acoustics. One performer not mentioned above was regular participant in Iryna's recitals, tenor Michael Smith who was the fourth member of the chorus.

The team will be performing again this Saturday 1 February. This time it will be the music of Cristoph von Gluck - 'Orfeo ed Euridice' at St Stephen's Church in Exeter High Street.

Iryna Ilnytska will be Orfeo, and Anna Townhill will be Euridice. Other familiar voices will join the cast. Melanie Mehta will be Amore while sopranos Cressida Whitton and Clare Gilbert and altos Megan Debenham and Gabbi Humphries will fill other parts. The pianist this time will be Richard Lucas, and there will also be flute accompaniment provided by Ruth Molins.