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Rameau's music is not as muscular as Bach's nor as boisterous as Vivaldi's. Rather, it persuades by sheer beauty of utterance. Yet an unexpected harmonic twist here, a sliding dissonance there and voila: moments as dramatic as any in opera. While not as accomplished as Britain's Academy of Ancient Music, Concert Royal is nevertheless a strong ensemble, and Richman led Rameau's triptych with supple understanding. Playing three roles, Soprano Ann Monoyios sang with the clear "straight" tone that scholars believe to have been customary. There is none of the wide vibrato and stentorian projection familiar from modern operatic singing. Instead, the voice sounds as artlessly natural as a child's, although used with considerably more skill.
Even more impressive was Turocy's company, which has been celebrating the nuances of baroque dance since its founding in 1976. Although dancing and singing were both integral parts of opera at its inception, ballet was eventually relegated to a secondary role. In this production Turocy (Mrs. Richman in private life), together with Jacoby, restored it to its rightful place at the center of the action: the pas de cinq of Amour and the gods in the second act, for example, or the apotheosis of Terpsichore's art in the third, regally danced by Turocy. The 13 dancers went through the stately paces of demi-coupe (one step forward), coupe (two steps) and contretemps (a little hop) with stylish verve.
To achieve the proper style, the choreographer reconstructs the movements from such sources as the late 17th century Beauchamp-Feuillet notation system, which recorded step units, floor patterns and the correlation between music and dance measures; she also consults period dance treatises, paintings and sculptures. She then researches the criticism published at the time and factors in the special abilities of the dancers who originally appeared in the roles. "It is a marvelous combination of intellectuality, sensuality and & emotionality," says Turocy, 34, who has also worked in modern dance. "In baroque dance, beauty and grace mean something."
Perhaps they do, but the Met is not likely to rush Castor et Pollux or Les Fetes de Polymnie to its stage anytime soon. Reflecting public taste, the operatic and ballet repertories are still heavily 19th century in orientation. Yet it was not so long ago that Mozart's Idomeneo was regarded as a fringe work, and 25 years ago few people foresaw that Handel's operas would find their way back onto international stages. Busily mining the coffers of musical history, groups like Richman's and Turocy's are unearthing the riches of the past for the benefit of the future.