Henry Purcell’s well-known “Dido and Aeneas” is often thought of as the first English-language opera, but that is not entirely true.
Although the 1689 work can easily be called the first masterpiece of English opera, it was predated and significantly influenced by John Blow’s nearly forgotten “Venus and Adonis” — composed some six years earlier.
“I really consider this a companion work to ‘Dido and Aeneas,’ ” said Frank Nowell, artistic director of the Baroque Chamber Orchestra of Colorado. “It’s much less well known, but I was familiar with it, and I thought it was in some ways just as strong.”
Following up the period ensemble’s presentation of “Dido” in 2009, Nowell will lead the orchestra and a group of guest artists in a pair concert performances of “Venus” this weekend in Boulder and Denver.
Nowell acknowledges that trying to attract audiences to an obscure work by a composer most people have never heard of is not easy.
“I’m a little bit concerned about it,” Nowell said, “but I think as an ensemble we try to do a fair number of lesser-known works and lesser-known composers. That’s part of our mission.”
Working in the ensemble’s favor is the increasing popularity of baroque opera in general, especially the works of George Frideric Handel, and many people’s familiarity with the mythological love story, which was famously retold by Shakespeare and Ovid.
The orchestra is making a point of reaching out to opera fans, especially those interested in something different than the usual fare presented by most companies, and to anyone with an adventuresome musical spirit.
“I think it’s really a piece that is worth hearing,” Nowell said. “I think that is true of a lot of 17th-century music. There are composers we just don’t know very well, but they did some really great music, and that’s part of what our orchestra can do, is bring these things to light.”
Although virtually forgotten now, Blow (1649?-1708) was a significant musical figure in his time, holding several important posts, including organist at Westminster Abbey and Composer in Ordinary to the King.
Perhaps most significant to music history, he was Purcell’s teacher, and in apparent acknowledgment of his student’s abundant talent, he even stepped down from his post at Westminster to allow the younger composer to take his place.
The exact date of the first performance of “Venus and Adonis” is a mystery, but it is known to have been originally billed as a “Masque for the Entertainment of the King” and to have featured the king’s mistress, Mary Davies, in the role of Venus.
This production of the one-hour chamber opera will feature three soloists who all specialize in early music. Two — soprano Amanda Balestrieri (Venus) and countertenor Robert Sussuma (Cupid) — reside locally, and bass-baritone Peter Becker (Adonis) is from New York.
Also taking part will be a 17-voice adult chorus assembled for this production, as well as 14 members of the Boulder Children’s Chorale, taking the roles of young cupids.
Nowell would like to see the Baroque Chamber Orchestra present a fully staged opera someday, perhaps in collaboration with another area group, but he believes beginning with more modest concert versions makes sense for now.
“I think it’s a good way for us to get started, to get our feet wet in the operatic realm and see where it goes,” he said.
“Venus and Adonis”
The Baroque Chamber Orchestra of Colorado
presents a concert version of what is considered to be the first
English-language opera, John Blow’s “Venus and Adonis,” composed
around 1683. Joining the Denver-based period ensemble will be soprano
Amanda Balestrieri, bass-baritone Peter Becker and countertenor
Robert Sussuma, as well as a special adult chorus and members
of the Boulder Children’s Chorale. 7:30 p.m. Saturday, First Congregational
Church, 1128 Pine St., Boulder, and 4 p.m. Sunday,
Bahá’í Center of Metro Denver, 225 E. Bayaud Ave. $24, $19 seniors
and military personnel, $5 students. 303-889-1012 or .
