Booked & Scene

A Hero, A Villain, A Heart in Peril: A Brief Synopsis

Set in medieval Scotland, Handel’s Ariodante follows the titular character, a noble knight, who is engaged to Ginevra, daughter of the King. Their love is sabotaged by the villainous Polinesso, who fabricates infidelity and drives Ariodante into despair. Amid heartbreak, deception, and eventual redemption, Ariodante explores the turmoil of love and honor, set to a soaring Baroque score. Handel’s opera sparkles with talent, triumph, and a touch of theatrical magic during Martin Pearlman’s final season.

The Pearlman Touch: Conducting Greatness

Watching Martin Pearlman conduct is like watching joy personified. In what marks his final season after an astounding 52-year legacy, Pearlman led the orchestra with grace, passion, and precision. Every movement of his baton was a testament to his deep connection with Handel’s work and his musicians. The orchestra’s playing throughout the nearly three-hour opera was a masterclass in Baroque excellence, infusing every scene with texture and life. Truly, being in the audience for one of Pearlman’s final live performances is a gift—his artistry leaves an indelible mark.

Aria-mazing: Standout Performances from a Stellar Cast

    •    Amanda Forsythe (Ginevra) was a standout, delivering a beautifully nuanced performance. She transitioned seamlessly between emotions—radiant in love, shattered in betrayal, and raw in her emotional unraveling.

    •    Ann McMahon Quintero (Polinesso) was a deliciously devious delight. Her villainous portrayal, complete with scheming expressions and dramatic flair, made her the most engaging actor on stage.

    •    Brandon Cedel (King of Scotland) brought warmth and grounded gravitas to his paternal role, with clear, touching chemistry shared with Forsythe.

    •    The 17-member chorus added rich, layered harmony, particularly in the final scenes, filling the space with grandeur and emotional resonance.

Kilt Couture & Creative Screens: Visual Flourishes

The costume design was wonderful—and did a great job of authentically evoking the opera’s era and aiding in transporting the audience to Handel’s imagined Scotland. A special nod goes to the inventive moving image backdrops that elegantly portrayed thunderstorms, sunsets, and shifting times of day. These elements added dynamic beauty and mood to the production. Also worth noting: Peter Laki’s program synopsis was both informative and delightfully witty. His clever asides made following the plot a joy—I’d happily read his synopses for every opera I attend.

While the backdrop design was captivating, a distracting light glare in the center disrupted full immersion. Also, a more humorous (but still distracting) hiccup: with the elevated stage and the costume kilts, seated moments gave the audience a bit more insight than intended. Shorts were worn, yes—but perhaps tights or longer underlayers could save future audiences from unexpected eyelines.

Caption This: Accessibility and Audience Education

Initially, the captioning choices puzzled me—captions were provided for the first stanza or section but not the repetitions, which felt like a gap in accessibility. However, I learned post-show from the Director of Marketing, Nic Laschever, that this is standard in opera formatting. Encouragingly, Boston Baroque plans to include a “What to Know” section in future programs to help newcomers better understand classical music customs. This is a fabulous step toward more inclusive and informed opera-going.

Encore-Worthy: Final Thoughts

Boston Baroque’s Ariodante was a luminous evening—filled with expressive performances, rich musicality, and a sense of farewell that made it even more poignant. Witnessing Martin Pearlman conduct in his final season was nothing short of magical. As he closes this chapter, he leaves behind a legacy of beauty, brilliance, and baroque mastery that will echo long after the final note.