There cannot be many operas that have remained in the international repertoire after over 330 years that were first performed in a girls’ boarding school in London. Yet such was the initial realisation of Purcell’s Dido and Aeneas in the winter of 1689. This proved to be its only performance during the composer’s short lifetime: Purcell died aged just 37 in November 1695.

The opera was staged with modest resources, both then and in this performance by the fine young singers of Jericho Youth Opera. The imposing setting of Arthur Blomfield’s Byzantine-style church proved acoustically and visually well suited to this production, which used the sparest of props to great effect. From the opening overture, the chamber orchestra set the tone in every sense, with high standards of clarity and rhythmical momentum under the authoritative, meticulous conducting of Susan Glaisher, who had also devised and directed the production, in which the costumes were imaginative, colourful and suitably sinister when required.

At the start of the opera, Belinda (sometimes identified as Queen Dido’s lady-in-waiting, though here as her sister) is encouraging Dido to remain calm despite the torment the queen feels in her love for Aeneas, the newly arrived Trojan. Frieda Uhlig brought a striking maturity to the role of Belinda, poised and compassionate in her attempt to support Dido, and singing with a purity of tone that was quite remarkable and became ever more assured. Her aria later in the act, “Pursue the conquest, love”, simply sparkled. The Queen (Hannah Uhlig – perhaps that explained the sibling relationship?) was the personification of grief. Her sustained and heavy-hearted chaconne aria “I am prest with torment” was deeply moving, her intonation secure, her sensitive phrasing evoking the sense of impending tragedy already here.

The third main character, Aeneas himself (Brian Todd), arrived on stage as if driven by destiny, a conviction that became, appropriately, rather more vacillating by Act 3. But at this early stage, his tenor expressed hope, self-confidence, and a determination that Dido should become his. Todd seemed to bring decades of experience to his operatic singing and acting, perhaps too many, in fact, for a teenage Dido, but he coped bravely with the challenge of assumed youthfulness and was later the very embodiment of despair in his recitative when dismissed by Mercury.
Ella Broadway (Second Woman) was a model of concentration, especially in her interaction with Belinda; and RahelEdemariam Dwan (Spirit/Mercury) rose to the occasion – literally and metaphorically – with a commanding presence.

The off-stage chorus, just visible behind the instrumentalists, commented throughout, focused and intelligent, playing an important part in this classical drama. Glaisher worked hard to elicit the best possible diction. The blend was excellent, though less so when, for some reason, the solo tenor joined them even from on stage. At times the sound was rather subdued, perhaps because the choir remained seated throughout, except for two occasions. When standing for the number following the decisive argument between Dido and Aeneas in the final act, the sound and text carried much more effectively over the orchestra; and shortly after, just before the body of Dido was strewn with petals, they appeared at the front of the stage, in coats and anoraks, for their “Never part” chorus. It was not clear why.

The production had drama a-plenty and wonderful surprises. The sudden, deafening crash of thunder (effective drumkit!) served as an introduction to the six eerie witches and the devilish Sorceress (Jess Glaisher) who imperiously managed their movement like a field marshal from hell. The witches responded in kind, miming their hatred of the Queen of Carthage while the chorus provided their cackling laughter, and gave a courtly dance of ghoulish seriousness. It was reminiscent of Halloween only a few days earlier, an impression confirmed when the witches tossed out to the audience “trick or treat” bags of sweeties – though some contained onions or a brussels sprout instead – while the chief witch smirked in satisfaction. Pure theatre.

Throughout, Purcell’s genius in creating contrasting moods was in abundant evidence, witnessing the sudden changes so well managed by the entire company, from storm to rural idyll, from hope to despair, from boozy ship’s crew in the harbour to Dido’s lacerating, final aria. Here, once Aeneas had finally departed, at her insistence, and nothing was left for her but to die, Hannah Uhlig gave the most heart-rending account of the famous “When I am laid in earth”, sighing, staring vacantly ahead, the suspensions achingly drawn out, and her plaintive “Remember me” soaring up to the heavens. And all the time, Belinda, whether confidante or sister or both, kept everything together on stage, encouraging, monitoring everyone, all in addition to her intuitive acting, even the tiniest flick of an eyelid, never out of role, and singing with the air of a seasoned operatic soprano.

This was a real tragedy, created by an extraordinary group of youngsters acting and singing well beyond their years, a production bursting with energy yet laden with grief. Jericho Youth Opera is a wonderful new addition to the Oxford musical scene. This outstanding debut performance promises so much for the future.