Love changes people: sometimes into flora, sometimes fauna.

The baroque chamber operas “Venus and Adonis” and “Acteon” call for deities and hunters of mythical beauty - a daunting task even with a cast whose demographics skew young and attractive - as well as transformations the plausibility of which would exasperate Kafka. In stage director Gilbert Blin’s elegant solution, the Boston Early Music Festival’s singers and dancers played hunt-loving 17th century aristocrats, tossing shimmering mini-togas over waistcoat and corset to bask in classical idylls at home. Two small clumps of musicians, with one enormous theorbo (like a lute on steroids), were seated on Jordan Hall’s stage Saturday night in the thick of the action. Bewigged children, given golden bows and arrows to play with, were seen and occasionally heard, to charming effect.