An interesting article from Yugen of American Opera Theatre entitled "Baroque and Authenticity":
For various reason I think "authenticity" is rather like a phantom. It is something that gets a lot of hype and belief, but it doesn't really exist. That isn't just because there is so little historic truth about performance practice we can know for certain (most of what has become accepted as "baroque performance practice" is actually not so clear cut when one looks at the sources). No, authenticity doesn't exist because the whole notion of authenticity, the primacy of the composer and his epoch's "intentions", is completely a modern concern, one that would not have concerned the 17th or 18th century musician.
Read the entire article here.
Brian Dickie of Chicago Opera Theater weighs in as well:
So please let us not get so stressed out with the idea of "authenticity". Its all about the music making please...Full article here
And what is my humble opinion?
I am thrilled to be working in a craft that offers so many opportunities for creative expression. It is exciting to live in Houston where there are so many groups striving to recreate period sounds and "rediscover" old works. And it is wonderful to me that they might be presented in a more traditional way, but that there is room for exploration of uncharted waters, too. I love that my production of Dido will feature modern dance. I would love to do a "traditional" Dido sometime too but I couldn't be happier with the way our version is shaping up. For me it is about uncovering the emotional truth of the piece. If that means a lavish costumes, realistic set and Historically Informed gesture and dance, GREAT, but for me, it is not essential. There is such a strong emotional throughline in Dido (and delivered in such a beautiful musical package), I believe it stands well regardless of the packaging.
I hope you will agree in May!
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