‘Circé’ Review: A Re-Enchantment Through Greek Mythology and French Baroque Opera

What would be more ideal than enjoying a performance of classical music, dance, and Greek mythology in the modern age? Bright-toned, lively classical music immediately paints the setting for “Circé,” an opera about a story most familiarly portrayed in Homer’s “Odyssey.” The Boston Early Music Festival presented a fully-staged production of the 329-year-old opera, with high-quality vocals, music, costumes, and choreography that capture Greek mythology in Baroque style.

First performed in 1694, “Circé” was composed by Henri Desmarest and written by librettist Louise-Geneviève Gillot de Saintoge. The opera belongs to tragédie en musique, a form influenced by the atmosphere of nobility that defined its time. The Boston Early Music Festival’s production of “Circé” was stage directed by Gilbert Blin and music directed by Paul O’Dette and Stephen Stubbs.

The dance company is central to the magical and mythical elements of the production. Through costumes, the dancers represent a variety of characters, from royal men and airy fairies to vicious monsters, trees, and creepy statues. Dance Director Melinda Sullivan and Choreographers Marie-Nathalie Lacoursière and Pierre-François Dollé produced graceful ballet with a fairy-like quality. The movements are fluid, and along with the texture of the flowy dresses, they resemble the artistry of a Baroque painting with a touch of ethereal folk mythology. When Circé turns the humans into swine, the dancers transform from composed humans into chaotic creatures through dramatic movement, making magic happen right in front of the audience. Additionally, the staging of the scenes usually centers on the altar of fire for the sacrifice of Cupid, making love a central force in the story.

The opera’s costume and makeup are exquisite and colorful, and they fit Baroque style. The women wore refined, fashionable dresses and the men wore wigs, high stockings, short skirts and sometimes Roman-like togas. The ruby dress and red feather crown worn by Circé and the blue dress and jewelry worn by Astérie contrast each other like rage and sense. Éolie’s silver dress, featuring long wing-like sleeves and a crown, set her apart from the other two women.

The magical elements of the production are also shown through scenic design, including the moving ocean waves and the vertical clouds that allow characters to suddenly appear or disappear. With the direction of Robert Mealy, the orchestra sets the tone of the whole production. The music is characterized by glorious grandeur, with authentic Baroque instruments, including early violin-like and guitar-like instruments that enhance moments of dramatic emotion, and the distinctive harpsichord that creates the mythical spirit at the dances.

The opera “Circé” brought special attention to the women’s role in the story, empowering them to make decisions and remain in control of their fates. Asterié (Teresa Wakim) determinedly rejects Elphenór, even when Circé offers her to him as an exchange. Wakim’s potent yet sweet voice and her strong composure assert unyielding female power. Amanda Forysthe’s performance as Éolie is stunning with her divine posture and beautiful, angelic voice. The opera leaves the audience with empowered women taking action, while the men in the scene are perceived as comical, particularly due to their feminine costumes. Male characters like Ulisse are seen as somewhat indecisive and opportunist, and Elphénor is burned by his own jealousy and even takes his own life after being rejected.

While love can be a source of jealousy and destructive motives, the opera ends on a more optimistic note, granting the two pairs of lovers their wishes.

Boston Early Music Festival’s production of “Circé” is truly a magical experience, a fusion of Greek mythology and French Baroque elegance. With the stellar cast and strong creative team, BEMF uses the power of early music and theater to bring enchantment to a technological age, offering imagination come to life.