It’s 350 years since Henry Purcell, one our greatest composers, died aged just 36. The biggest commemoration of the year comes courtesy of Glyndebourne, which stages one of his last and grandest works, first presented in London in 1692.
The form of the piece - semi-opera - is usually written off as intractable. It’s half play, half sung and danced masque. In this instance, the play is a cut-down adaptation of A Midsummer Night’s Dream, with lengthy musical sequences placed at the ends of the acts. Directors and conductors have fought shy of it for decades, often junking the spoken text altogether and leaving the songs, dances and choruses stranded without context.
The first decision director Jonathan Kent and Baroque specialist conductor William Christie - here in charge of the period-instrument Orchestra of the Age of Enlightenment - get right is the do the lot, bar a bit of judicious editing. It works better than anyone could have imagined, with a first-rate team of actors led by Sally Dexter’s Titania, Joseph Millson’s Oberon and Desmond Barrit’s Bottom, an equally fine ensemble of singers, plus a troupe of dancers executing Kim Brandstrup’s steps. It’s a superb company achievement.
Paul Brown’s designs keep on coming up with brilliant ideas in a staging that never flags for a moment. There are too many highlights to mention in this varied and infinitely delightful entertainment. Glyndebourne has a triumph on its hands.
Production information can change over the run of the show.
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