The Music Box

Last night's production of Lully's opera "Amadis de Gaule" proved that an opera which has not been performed for two hundred and fifty years can still be a first rate show. To he sure, the unwieldy plot had to be cut down into manageable length, by eliminating a few descents into the lower world, demons, and so on; but the spirit of stateliness, poise, and pageantry in the grandest manner of Louis XIV's court was admirably preserved. With very simple staging, a feeling of magnificant display was achieved by fanfares, processions, and some excellent choreography by Adele Hooper Huge which managed to combine both sprightliness and grace.

The individual voices were good, and almost everyone looked believable in the part, with Margnerito Willauer outstanding as the heroine, Oriane. She displayed a voice of gorgeous tone, rich and exciting, and used it with considerable dramatic skill; Adele Milhendler also deserves equally warm praise for her performance. Edward Zambara was as satisfactory looking a villain as one is likely to see, but his clear diction was somewhat spoiled by a thick American accent. It was evident that the pronunciation in general was carefully worked over, but even so the words were difficult to grasp. John Patterson, as the hero Amadis, was the only character who was often less that satisfactory; he was bothered throughout by a lack of acting ability.

The chorus was superb, singing cleanly and with infectious rhythm which is the very life-blood of the music. Malcolm Holmes clear conducting could not conceal the orchestra's lack of rehearsal time but the orchestral sections were nearly adequate and will undoubtedly improve in the next two performances. The harpsichord accompaniment was very capably handled throughout by Alan Cunningham.

But in the end it was Lully's music--simple, stylized, square, and eminently tuneful, which made the evening a delight. --Appolon Musagetes