Yes, it’s an approachable opera — but that’s partly why this Opera Atelier production is unmissable

It’s a tale of love and transformation that has charmed audiences of all ages for centuries. On the cusp of its 40th anniversary, Toronto’s internationally renowned Opera Atelier returns to “Acis and Galatea,” one of 18th-century composer George Frideric Handel’s most popular stage works.
In various forms this Arcadian tale has woven a path through the company’s long history, culminating in a 2010 hit production that Opera Atelier is reviving for its hometown fall season.
“‘Acis and Galatea’ is family-friendly entertainment and a marvellous introduction to opera as a whole,” says Marshall Pynkoski who, with Jeannette Lajeunesse Zingg, co-founded Opera Atelier in 1985. As co-artistic directors, Pynkoski serves as overall production director while Zingg creates the Baroque-style choreography that has long been one of the company’s most distinctive and popular features.
“Handel’s opera functions at an adult level with its sensuous music, irony and innuendo but its fairy-tale character appeals at a different level to young audiences,” explains Pynkoski.
He’s insistent that regardless of the genre or era the live performing arts have a duty to entertain.
“People might otherwise just as well stay at home and watch television,” he says, jokingly.
To some, using the word “entertain” in the context of a classic art form such as baroque opera is almost sacrilegious, but for Pynkoski the word connotes engaging an audience in every way possible, musically, vocally, visually and emotionally; something “Acis and Galatea” achieves in all departments.
As staged today — and it has never completely disappeared from the operatic canon — “Acis and Galatea” is very much a full-on opera with appealing sets and costumes, although at two hours including an intermission it’s admirably shorter that many of its companions.
The story derives from ancient mythology. Galatea is a semidivine sea-nymph frolicking among a merry community of shepherds and shepherdesses. One of the former, Acis, has caught her eye and the two are deliriously in love. But trouble brews, as is inevitable when a mortal romances an immortal.
“In ancient mythology you can’t have that erotic relationship between gods and mortals without someone suffering terribly,” says Pynkoski.
Act 1 is all mirth and lightness but the music for Act 2 signals a dramatic change of mood as the scary cyclop Polyphemus intrudes. He lusts after Galatea and in a rage brutally kills Acis as only a giant can. Galatea, quite naturally, mourns her loss until encouraged to use her special powers to transform the slain Acis into something as immortal as she. No spoiler here!
Thus, the opera travels from happiness to tragedy and finally to a culminating celebration.
“It’s the epitome of what baroque opera aimed to do,” explains Pynkoski, “to wrench as many emotions out of the audience as possible in the shortest period of time.”
Handel originally composed “Acis and Galatea” in 1718 but kept elaborating it throughout his career, leaving behind a trail of different versions. Opera Atelier’s is based on a 1739 two-act staging that includes a character called Damon, traditionally presented as a fellow shepherd and friend of Acis but in Pynkoski’s conception a sprite-like creature outside the mortal realm. In the English language libretto, Acis refers to Damon as the “genius of the mountain.”
Portraying this character, written, like Acis, for tenor voice, requires a special kind of acting ability because Damon is supposed to be invisible to all but the audience. To take on the challenge, Pynkoski has cast Madagascar-born, Paris-trained tenor Blaise Rantoanina. Although the two have worked together in France — Pynkoski and Zingg are celebrated figures on the French baroque opera scene — this will be Rantoanina’s Canadian debut. He’s already booked for further engagements with Opera Atelier, as is Antonin Rondepierre, the French tenor starring in his role and Canadian debut as Acis.
“Antonin is a major up-and-comer in France,” says Zingg. He’s also a sports fan and already during his time in Toronto has managed to take in a Blue Jays/Marlins game.
“It was truly a cultural experience,” he comments diplomatically.
“Antonin is a real stage animal,” adds Pynkoski. “That’s something that cannot be taught. It’s instinctive. I am really thrilled to be introducing these two wonderfully talented young tenors to our local audiences.”
Completing the line up of principals are soprano Megan Lindsay (Galatea) and bass-baritone Douglas Williams (Polyphemus), both Opera Atelier veterans. As usual, period-instrument ensemble Tafelmusik Baroque Orchestra will grace the Elgin Theatre’s pit while the Nathaniel Dett Chorale will sing Handel’s delightful choruses but theatre boxes, not from the stage. The 12-dancer Opera Atelier Ballet will serve as a visible chorus, often interacting directly with the protagonists.
Says Pynkoski: “It’s a true meeting of performance disciplines, music, dance, song and drama.”
“Acis and Galatea” runs Oct. 24 to 27 at the Elgin Theatre, 189 Yonge St.