Il Combattimento di Tancredi e Clorinda is a fascinating little piece of musical drama (see previous post). Written in 1624 shortly after Opera as we know it was born, began flexing its limbs and realised its ability to capture attention and imagination. Opera was moving out of the palaces of royalty and nobility, spreading its wings and becoming an entertainment for a paying public. Venice was the cradle of the democratisation of this nascent art form and it was there that Claudio Monteverdi wrote this 30 minutes of musical combat. The DIT Conservatory of Music & Drama presented it at Smock Alley Theatre, Dublin as part of a baroque double with Henry Purcell’s early English classic Dido & Aeneas.
Smock Alley Theatre has been recently refurbished and has a rich and long history going back to the 17th Century Theatre Royal on the same site. An appropriate venue then for this evening’s baroque entertainment. The minimal set consisted of a monochrome grey torch stand, podium and water font set against a similarly grey solid backdrop, all bathed under a misty blue light. This created a very classical feel and allusions back to ancient greek drama. Unlike the original piece, which has only three characters, Tancredi, Clorinda and a narrator Testo who does most of the heavy vocal lifting, this production had seven. Three narrators (Oisín O Dálaigh, Sarah Kilcoyne & Rheanne Breen), and two each for the combatants (Ciaran Crangle & Ross Fitzpatrick as Tancredi & Naho Zoizumi & Letizia Delmastro as Clorinda). I wasn’t really sure how this would work out but it did share the heavy vocal duties of Testo and created an interesting dynamic with the combatants each having a second, rather like a boxer has someone in his corner for encouragement and support.
The costumes were traditional with Crusader tunics, armour & helmets and the fight scenes were very well choreographed. Their fervour echoing the varying tempo and intensity of the music as the exhaustive combat commences, breaks off and resumes. Both combatants had their seconds egging them on and we could clearly hear the adversaries panting with exhaustion after each engagement of flailing swords. Clorinda’s mortal wounding was particularly well acted by Letizia Delmastro as she clung to the victorious Ross Fitzpatrick’s statuesque Tancredi and slowly slid down to the ground. Tancredi stands tall looking down as her life ebb away. One of those times when an additional heartbreaking silence sits on top of an already silent audience.
It may not have been ideal to have the musicians squeezed between the seating and the stage but the six piece ensemble played splendidly. The harpsichord, strings & flute creating a restrained baroque backdrop to the drama which was echoed by the heavily tiered wooden pew seating in this beautiful little theatre who’s history goes back to the baroque period.
I really enjoyed this production. Baroque opera is in the midst of a renaissance at the moment and it was wonderful to see this rather rarely performed work being staged in Ireland. It had an energy and realism in the combat which was a credit to the students and their tutors. As usual surtitles are a bugbear of mine. They could not be seen from the wings where I was seated but in fairness that was because of the shape of the theatre space and I would imagine there isn’t much call for surtitles at this venue.