MUSIC REVIEW : Baroque Festival Dusts Off Handel’s ‘Acis and Galatea’

In concept and format, the Corona del Mar Baroque Music Festival, now in its 10th season, differs little from year to year. In repertory, however, there is little repetition.

That’s because Burton Karson, conductor, harpsichordist, musicologist and the founder/director of the festival, is more likely to dust off the rarely heard scores of that period than to deliver yet another performance of a familiar staple. Of particular interest to Karson is opera in its embryonic form, and he has in previous years presented odes, masques and mini-operas by composers from Blow to Banchieri.

On the third of four programs in this year’s festival, an ensemble of 15 presented an essentially unstaged performance of Handel’s pastoral “Acis and Galatea” on Friday at the Sherman Library and Gardens. As in other pastorals, the plot is extremely simple. The love between Acis and Galatea is shattered by the jealous one-eyed monster, Polyphemus, who kills the gentle shepherd. But the grieving nymph uses her supernatural powers to turn Acis’ blood into a stream, giving him immortality.

Urgent, communicative delivery of the text, a wide range of vocal nuance and telling facial expression made soprano Jennifer Smith, as Galatea, the more convincing of the two principals. Her singing remained vibrant, penetrating and technically secure.

It was difficult, on the other hand, to believe that tenor Gregory Wait really meant it when he sang “happy we . . . “ as the two lovers are united in the first act; neither his countenance nor his voice--which proved weak in projection and insecure in pitch--displayed more than a modicum of expression. (Only when he sang the line, “Weak as I am . . . “ did he seem to fit the part.)

Baritone Christopher Lindbloom brought vocal strength and resonance to the role of Polyphemus, and he was able to convey both ardent desire and malevolent rage. Tenor Dale Tracy, as Damon (Acis’ invisible, unheeded adviser), offered a warm, suave sound, fluid delivery and clear enunciation.

The chorus of shepherds and nymphs sang with vibrant energy, though the five singers were poorly balanced. Karson conducted effectively from the harpsichord, and the little orchestra played with vitality, rhythmic security and stylishness, only some minor intonation difficulties detracting.