"Modernized Opera" can sound a little scary, especially if implicitly (mis-)associated with the term "upgrade" which came out of Hollywood and Silicon Valley almost simultaneously in the last several years. Perhaps this is why some people are so against it: it sounds as if their changing the notes to modern notes! Or completely reversing the tone of the opera in some sardonic way. Operas should not be modernized because they are old but because it makes sense to do so. The two terms in quotes shouldn't be associated at all: the former is a style, the latter a consumerist slogan and a euphemism for dumbing-down. Bringing the action of the opera into the present either explicitly or in some less realistic or even abstracted way, where there is a motivation, can be a wonderful thing and be high art. When the imagery the designer and director create make poetical and musical sense in the way it unfolds through the piece, with its own internal logic compatible with that of the music, it is a wonderful thing and there is no reason modern images are necessarily excluded from this (there is the problem of literal contradictions in the libretto, references to "pastorella" or "boschi" or "selva" in an opera taken to the modern inner city, but those are a separate matter).
Boston Early Music Festival’s presentation of two Marc-Antoine Charpentier chamber operas took us from the playful, elegant, high baroque world of the court of Louis XIV, into something more serious and grave, and then back out again. First we were given most of La Couronne de Fleurs, a Pastoral probably not meant for full staging, where Flore, goddess of spring—well sung, and acted with spirit, by soprano Mireille Asselin—summons up the season and then proposes to shepherds and shepherdesses a contest to praise Louis XIV’s military triumphs, the winner to receive the crown of flowers of the title. After the conventional tributes are made, the production turns to the short opera La Descente d’Orphée aux Enfers, presenting it as a further entry in the poetic contest, though this is done a bit awkwardly, since the piece does not refer to Louis. The Orpheus opera seems not to have been finished by Charpentier, having only two acts instead of the usual three, and stopping with the beginning of Orpheus’s ascent from the Underworld with his lover Euridice rescued from death. We do not get the familiar incident of his prohibited looking back at her and thus permanent loss of her.
Surely one of the great joys of being a music-lover in the present day is our rediscovery of French Baroque opera—not to mention the Italian and German masterpieces with which the Boston Early Music Festival has regaled its audiences over three decades. The amazing resurrection of Les Arts Florissants' legendary 1985 production of Lully's Atys this year brought that home. (They are now available on DVD and Blu-Ray.) BEMF had produced Rameau's Zoroastre in 1983. After that 18 years passed until they returned to French opera in their 2001 production of Lully's Thésée, followed by Psyché in 2007. While these four represent the most public strain of opera in Paris, the grand spectacles produced either under royal patronage or at the Opéra, BEMF's chamber opera series has provided a window on the smaller-scale, more private sort of performances cultivated by Marie de Lorraine, the Duchesse de Guise, with music by her house composer, Marc-Antoine Charpentier.