It was the local company’s first production after a two-year COVID-19 hiatus.
Nicholas Garza , far-left, Alex Longnecker and Gitanjali Mathur far-right, during a production of Handel's 'Acis and Galatea' by the American Baroque Opera Company, on Saturday, March 26, 2022 in the Studio Theatre at the Wyly Theatre in Dallas.Ah, those were the days, when even minor nobles kept retinues of musicians for both sacred and entertainment services.
The staging, by Rebecca Choate Beasley, was pretty basic, in front of vertical white rods suggesting birch trees. Nymphs and shepherds, including Acis, were dressed as country folk. But Galatea wore a rather classical white gown, presumably suggesting her “otherness.” The overbearing Polyphemus was done up in ragtag black. Projected supertitles supplied the texts.
Gitanjali Mathur’s rather dry soprano, with a narrow, rapid-fire vibrato, lacked Galatea’s essential sweetness and light. Maybe her highly stylized movements and gestures were meant to be “baroque” — or supernatural — but they looked artificial amid otherwise natural acting.
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