One aspect of 17th century opera that can sometimes disorient contemporary audiences is the casual freedom with which it mixes high drama with a broad vein of obvious humor. For a hundred years and more — before the reformers got hold of things and made everyone pick a lane — there was nothing unusual about the prospect of cowardly gluttons and bawdy nursemaids sharing the stage with gods, rulers and heroes.
Everyone involved with the superb new production of Monteverdi’s “Return of Ulysses to His Homeland” that opened Saturday night at the West Edge Opera understands this point perfectly, and the obvious lack of anxiety about tone was one of the reasons this performance felt so ebullient and alive.
