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The Civic Opera Theater of Kansas City is performing Henry Purcell's 1692 masterpiece, The Fairy Queen, in mid-October on two dates at the Goppert Theatre at Avila College. 

Known for its offbeat programming and for featuring young singers in major roles, the Civic Opera has done unusual pieces before. Witness 2008's Our Town by contemporary composer Ned Rorem, its world premiere in 2007 of John Mutter's Everlasting Universe, its two presentations of Mark Adamo's contemporary retelling of Little Women, and its nine-year run of The Wise Women, a modern opera by Conrad Susa (due to return this December, by the way).

All of these are modern pieces, however. Why would the Civic Opera delve into the Baroque era to produce an opera by one of the most ancient, yet revered, composers of opera, Henry Purcell?

I asked David Adams, the locally famous tenor.  He is a member of the Kansas City Chorale and since last December has also been the Producing General Director of the Civic Opera. 

"Early music, particularly opera, doesn't have a real 'home' in Kansas City," he said. "As the new Producing General Director of Civic Opera Theatre, one of my passions is to make the company a regular venue for these early masterpieces."

Of course, one of the reasons for David's interest in Baroque opera is that the music is friendly to young voices. Also, as he points out, The Fairy Queen has never been performed by the Lyric Opera of Kansas City, or for that matter, the Civic Opera - and may well never have been performed in Kansas City before.

Those expecting to see an English version of Italian or French opera may be disappointed.  At the time Purcell was writing, the Italian and French styles of operas, so popular on the Continent, had not yet taken hold in England.  In fact, the English rather preferred their musical evenings to include lots of dancing and choruses, be thin on plot and thick on visual entertainment.  These works were based on, and were direct products of, the popular English spoken theater of the day.  They took little or no inspiration from the Italian and French examples. In fact, the English didn't even call them "operas"; they called them "masques"

Purcell, always quick to respond to the public taste, premiered his first "masque" with The Tempest.  So successful was it that he followed in rapid succession with several other works, culminating in The Fairy Queen in 1692.  Like The Tempest, it was based upon a Shakespeare play, in this case A Midsummer Night's Dream.

The Opera calls for no fewer than 26 different singing parts.  How does a modern opera company, particularly one operating on a spare budget like the Civic Opera, manage such a work?

"We had to make some rather liberal choices when moving forward," David told us. "The original score included seven sopranos and six countertenors. I believe that our approach to the production is sensitive to the piece while still quite innovative, with each singer singing multiple roles. That, of course, was a challenge for our stage director, Linda Ade Brand... one that she has absolutely mastered!"

The Fairy Queen has a sophisticated orchestral score, particularly since there are several orchestra-only interludes and a number of dance scenes where the orchestra is, of course, prominent.  How is the Civic Opera dealing with the musical and choreographic demands?

 "We are collaborating with two different organizations on this production," Adams says. "First, it is a challenging orchestral score, and we are most fortunate to have the Kansas City Chamber Orchestra performing the instrumental music behind conductor Bruce Sorrell. Actually, the idea for The Fairy Queen originated with Bruce, and I jumped at the chance to do it with him.

"For the dance scenes," says Adams, "we have invited the Owen/Cox Dance Group to join us.  Jennifer Owen is a terrific choreographer and dancer, and she is bringing along some great performers, including Christopher Barksdale of Kansas City Ballet fame.  We are delighted to have them share our stage.  Their addition has provided a powerhouse to our effort... I think audiences will be overwhelmed with the beauty and charm of the result!"

Altogether, The Fairy Queen may be the most ambitious project the Civic Opera has ever tackled.  Some productions of this opera over the years have been lavish and expensive affairs, yet the Civic Opera and its collaborators are approaching the production with a tight budget.  How does that work?

"We are trying to be lavish but small!" laughs Adams. "This production will have much of the spectacle of the opera's original intent, yet maintain the intimacy that audiences of Civic Opera performances have grown to love."

To judge the result for yourself, check out one of the performances at the Goppert Theatre at Avila College on October 16 and 18. 

The Fairy Queen by Henry Purcell
Civic Opera Theater of Kansas City
Kansas City Chamber Orchestra
Owen/Cox Dance Group
October 16 at 8:00 p.m.
October 18 at 2:00 p.m.
Goppert Theatre, Avila College
119^th and Wornall Road, Kansas City, MO
For tickets call 816-235-6222 or online at tickets.cto.umkc.edu/public/load_screen.asp

For more information visit:
http://www.kccivicopera.org/
http://www.kcchamberorchestra.org/
http://www.owencoxdance.org/

By Don Dagenais

City Classics Music and Dance Columnist; Classical Contributor

A lifelong classical music fan, Don Dagenais is a frequent preview speaker for the Lyric Opera of Kansas City and has taught classical music and opera courses at several Kansas City venues. He has served on the boards of directors of a number of performing arts organizations including the Lyric Opera of Kansas City, the Lyric Opera Guild, UMKC Conservatory of Music and Dance, Opera Volunteers International, the Civic Opera Theater of Kansas City, Inspiration Point Fine Arts Colony, Octarium, and the Friends of the Symphony.  He has been the past president of most of these organizations and is current the president of the Friends of the Symphony. 

Dagenais co-authored a history of the Lyric Opera of Kansas City, published on the occasion of its 50th anniversary (2007) and has written books on the histories of both the Lyric Opera Guild and Opera Volunteers International, as well as an introductory book for opera novices (Your Passport to the Opera).  He has received several local and national awards for outstanding volunteer work for the arts, including a lifetime achievement award from The Coterie Theatre in 2000, the Kansas City Musical Club's annual award in 2001, a Partners in Excellence Award from Opera Volunteers International in 2002, a Bravo Award from Opera Volunteers International in 2004 and a community service award from the Daughter of the American Revolution in 2008 honoring him for his community service to the arts.

In addition to his music interests, Don is president of the board of directors for the Metropolitan Ensemble Theater and has served on the boards of The Coterie Theatre and the Heart of America Shakespeare Festival, serving as president of each organization.  He publishes newsletters for seven arts organizations.  When not involved in the performing arts, Don is a senior real estate attorney with Lathrop & Gage LLP in Kansas City, Missouri, where he has practiced law since 1976 after graduating from the Cornell Law School.

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