Lights out for Shoreditch Town Hall as sweltering temperatures forced a last-minute switch-up for London's Spitalfields music festival - but what a scorcher it proved to be! Instead, 'In the Belly of the Beast' erupted into life at a packed venue, delivering a rare treat: a revival of Élisabeth Jacquet de La Guerre's sublime baroque cantatas.
This trailblazer was no stranger to the spotlight, having been handpicked by the great Louis XIV himself - and what a coup it was! She made history as the first French woman to pen an opera, with her works flying off the shelves during her lifetime. But now, two centuries on, Jacquet de La Guerre's star shines brighter than ever in these three stunning cantatas: Adam, Jonah, and Jephthah.
The Dunedin Consort, Hera, and Mahogany Opera joined forces to bring this masterpiece to life - and what a powerhouse of talent it was! Toria Banks's translations offered a 'dictatorial' take on the Old Testament God, with even the almighty portrayed as a bit of a control freak. In 'Adam', he's desperate for credit; in 'Jephthah's daughter', she's caught between her father and a remorseless deity - no happy ending here!
Under Jennifer Fletcher's expert guidance, this modest yet effective staging was brought to life by an intimate ensemble featuring theorbo, viola da gamba, and violin. Carolyn Sampson and Mariana Rodrigues delivered performances that were nothing short of thrilling: Sampson conjured the irony in Banks's subversive libretto with ease, while Rodrigues melted hearts as Jephthah's daughter. Both vocalists showcased stunning tone and agility, combining for truly exhilarating passages in the final cantata.
This electrifying performance was a testament to Jacquet de La Guerre's enduring legacy - a woman who shook up the musical establishment with her innovative compositions. Her work offers a unique glimpse into 17th-century France and the royal court of Louis XIV, where art and politics collided in the most thrilling way.