BY CELINE CHONG
Apollo e Dafne
Brisbance City Opera
Sue Banner Theatre, Metro Arts, 19 July
In its second season for the year, the Brisbane City Opera tackled Handel’s tale of ruthless lust in its recent production of Apollo e Dafne.
True to their mission of bringing young singers to the stage, the title roles Apollo and Dafne were presented by baritone Josh White and Canadian soprano Rachel Pines; with Josh Ruben bringing Polyphemus to life and Annika Hinrichs and Gen Nolan in supporting roles as nymphs.
The costuming was simple, yet the classic white togas transported us instantly to ancient Greece. Apollo has recently triumphed over the monster Polyphemus, and has grown arrogant and boastful. It is only when he glimpses the beautiful Dafne that his conceit is tempered. However, he is then determined to have Dafne as his own. As she refuses his advances, Apollo’s temper grows out of control, bringing horrible consequences not only to himself.
As Apollo, White’s performance was certainly commendable, with a number of high notes that were mostly handled well. But, without a doubt, the stand-out performance of the evening was Pines in the role of Dafne. Her singing was sparkling, nuanced, and full of depth and resonance; while still having the characteristic Baroque clarity. She expertly conveyed Dafne’s fear of Apollo’s advances, as well as her resolve to resist him. It was an emotional roller coaster, to say the least; so effective that I felt uncomfortable watching Dafne’s obvious distress and Apollo’s forceful fixation on her.
Additionally, in a twist of creative license, Polyphemus’s presence was actually sustained throughout the story, though technically he is defeated by Apollo early on. He served as the inner voice of Apollo’s temptations, seductive and dangerous. It was an interesting way to interpret Polyphemus’s character, though it only became clear to me towards the end of the show.
As for the instrumental music itself, it was a shame that the Sue Benner Theatre didn’t have enough space for a full Baroque orchestra, as a single instrument per part wasn’t quite enough to evoke the grandness of Handel’s music. But, overall, this was a thought-provoking performance from BCO’s emerging young artists. 
Want to learn more about the show? Read our interview with Rachel Pines, or learn about how BCO was started by Chris Clement McNee (who also directed this show).
Images supplied.
