Knowing some of the performers, I was hoping for a fair performance of Dido and Aeneas in the large courtyard of the old Zichy Palace in Zsámbék, just outside Budapest. But, in the event, I witnessed a great deal more than just a fair performance.
During the past twenty-five years or so, János Dobra and his Tomkins Vocal Ensemble of Budapest have dedicated a great deal of time and energy to performing English renaissance and baroque repertoire in Hungary. Indeed, the Hungarian Dobra's dedication and intimate knowledge of the repertoire is deeply moving.
This performance of Dido and Aeneas was delivered in such good English – by soloists and chorus alike – that I forgot that I was listening to an all Hungarian cast and chorus in Hungary. Ironically, the English diction of most of the soloists was clearer than what I encountered from time to time in native London performances.
Dobra's approach to Purcell's masterpiece is stylish but also highly dramatic. Although the performance was not staged, the drama was evident through the interaction of the soloists and by the ever present contrasts of musical light and darkness, large scale of dynamic colours, polyphonic clarity and carefully chosen tempi.
Mária Horváth's Dido was the most touching portrayal I have ever heard. This Dido was intimate, vulnerable and self-sacrificing. It did not cross my mind that I was listening to an opera singer. On the contrary, I shed a few tears for Dido's tragedy. (A week later Mária Horváth gave a wonderful rendering of five Hans Krása songs, with 24 hours at her disposal for learning and delivering the songs)
Gyula Orendt convinced vocally as well as physically as Aeneas. Indeed, his vocal characterisation was exemplary. Edit Károlyi's Belinda was stylish and endearing but, sadly, some of her notes were slightly of pitch. Viktória Mester (Sorceress) amazed with the power of her voice and with the unflagging intensity of her delivery. Although a long way from Purcell, I would love to hear her as the earth mother Erda in Wagner's Ring cycle. (With such an Erda, Wotan's capitulation would make perfect sense.) The two Witches, Orsolya Sáfár and Edit Borsos, interacted with a great sense of humour and tight musical ensemble.
The Franz Liszt Chamber Orchestra gave full support from first note to the last. Although their leader and mentor János Rolla did not play on this occasion, thankfully his influence of many decades was evident. An example for the sensitivity of this orchestra is Dido's Lament. The repeated ostinato figure of the bass was played by three celli and a double bass, yet their hushed pianissimo delivery was softer and clearer than the usual solo rendering of the part.
This was a Purcell performance to cherish. Surely it should be heard more often than just on a solitary occasion.
By Agnes Kory
Photo: The Zichy Palace in Zsámbék
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