Commented
Discography of Handel Operas
by RML
Handel’s
operatic production is seriously neglected and the whole idea of this page is
to discuss the discography available in this repertoire. As there is lots of disc
to listen to and I haven’t listened to all of them, one could say that this
page is under construction. So, some items appearing in the list of recordings
won’t be commented for the moment.
re:opera
Acis
and Galathea | Admeto
| Agrippina | Alcina
| Alessandro | Almira
| Amadigi
Ariodante | Arminio
| Atalanta | Deidamia
| Flavio | Floridante
| Giulio
Cesare | Giustino | Hercules
| Imeneo | Lotario
| Orlando | Ottone
| Partenope | Il
Pastor Fido | Poro | Radamisto
Riccardo
Primo | Rinaldo | Rodelinda
| Rodrigo | Scipione
| Semele | Serse
| Siroe | Sosarme
| Tamerlano | Teseo
~Acis
and Galatea
1
- Norma Burrowes (Galatea), Anthony Rolfe-JJohnson (Acis), Martyn Hill (Martyn
Hill), Polyphemus (Willard White), English Baroque Soloists, John Elliot Gardiner
2
- Claron McFadden (Galatea), John Mark Ainssley (Acis), Rogers Covey-Crump (Damon),
Michael George (Polyphemus ), King’s Consort, Robert King
3
- Barbara Bonney (Galatea), Jamie McDoughall (Acis), Markus Schäfer (Damon),
John Tomlinson (Polyphemus), The English Consort, Trevor Pinnock
4
- Sophie Daneman (Galatea), Paul Agnew (Aciis), Patricia Petibon (Damon), Alan
Ewing (Polyphemus), Les Arts Florissants, William Christie
top
~Admeto,
Rè di Tessaglia
1
- Rachel Yakar (Alceste), Jill Gomez (Antiggona), Rita Dams (Orindo), René Jacobs
(Admeto), James Bowman (Trasimede), Max van Egmond (Meraspe), Ulrik Cold (Ercole),
Il Complesso Barocco, Alan Curtis
The
second opera composed for the "rival queens", Admeto, Rè di Tessaglia
was premièred at the King’s Theatre in January 31st 1727 with a glamourous
cast - Bordoni as Alceste, Cuzzoni as Antigona, Senesino as Admeto, Baldi as Trasimede,
Anna Dotti as Orindo, Boschi as Ercole and Palmerini as Meraspe. It features a
colourful sound palette with richly orchestrated interludes and a charming light
atmosphere, especially in what relates to the secondary "princess disguised
as shepherdess" plot. However, if one has in mind that the main plot is the
same found in Gluck’s Alceste, one cannot help but finding the atmosphere
rather tame here - especially in the scenes in the Hades with its furies etc.
As it is, the style makes one think of Orlando rather than the later Covent Garden
works or even of an earlier one as Rinaldo. Predictably, the most sparkling items
are the Cuzzoni and Bordoni arias, but, as usual in operas premièred by
Senesino, the main castrato roles has the most expressive arias.
Alan Curtis’s recording
goes entirely for the elegiac atmosphere, offering warm orchestral sounds
throughout. Nevertheless, one cannot help thinking that the extra boost
provided by a conductor like Minkowski is essential to bring this opera
to life. Also, a more theatrical cast. Rachel Yakar is a gentle Alceste,
singing with instrumental accuracy and implanting true expression in
her coloratura. Jill Gomez is technically impressive as Antigona, but
the tone is not exactly ingratiating. Rita Dams is a reliable Orindo,
a bit boyish in tone. René Jacobs and James Bowman are in good
shape here, but they are often too soft . The same could be said of
Max von Egmond. On the other hand, Ulrik Cold brings some blood to the
performance with his generous bass and enthusiasm.
top
~Agrippina
1
- Sally Bradshaw (Agrippina), Lisa Saffer ((Poppea), Wendy Hill (Nero), Drew Minter
(Ottone), Ralf Popken (Narciso), Nicholas Isherwood (Claudio), Michael Dean (Palante),Capella
Savaria, Nicholas McGegan
2
- Barbara Daniels (Agrippina), Janice Hall (Poppea), David Kuebler (Nero), Claudio
Nicolai (Ottone), Günther von Kannen (Claudio), London Baroque Players, Arnold
Östman
3
- Della Jones (Agrippina), Donna Brown (Poppea), Derek Lee Ragin (Nerone),
Michael Chance (Ottone), Jonathan Peter Kelly (Narciso), Alastair Miles
(Claudio), George Mosly (Pallante), English Baroque Soloists, John Eliot
Gardiner
4
- Véronique Gens (Agrippina), Ingridd Perruche (Poppea), Philippe Jaroussky
(Nerone), Thierry Grégoire (Ottone), Fabrice de Falco (Narciso), Nigel
Smith (Claudio), Bernard Delétré (Pallante), La Grande Écurie
et la Chambre du Roy, Jean-Claude Malgoire
Premièred
in Venice probably on January 1710, Agrippina is the most important vocal work
of his Italian career. The libretto had been specifically written for Handel by
Cardinal Vincenzo Grimani and is considered one of the finest he ever set to music.
Based on Roman History, it reveals a sophisticated sense of comedy and, despite
the happy ending, a caustic view of political affairs. Probably as an influence
of Venitian opera, the set numbers are short and sometimes simply emerge from
or dissolve into the vivid recitatives. The admirers of this opera point out its
undeniably great theatrical quality; the detractors will certainly mention that
the invention is less exuberant than it would later be in his London days and
that the great majority of arias are borrowed from other works by the composer,
especially the oratorio Il Trionfo del Tempo e del Disinganno and other Italian
cantatas.
McGegan's
performance is light and elegant and the Capella Savaria plays with
animation and offers rich sounds. However, one could rightly point out
that such a libretto deserves more swagger. Sally Bradshaw's bright
soprano may sound too young for the role of the scheming Empress, but
she more than compensates with her fine word pointing and understanding
of her character. I would even say that her sounding so sweet plays
an important part in her interpretation. In any case, the naturalness,
homogeneity and flexibility of her voice are certainly welcome. In the
soprano castrato part of Nero, Wendy Hill's voice offers an apt edge,
which makes her sound boyish enough. She also captures the frantic quality
of the young Emperor-to-be very well. Lisa Saffer's voice is rightly
fresh and charming, but her lines could be more caressing sometimes.
After all, if all those guys are in love with her, she must be really
seductive... Although Drew Minter is in good shape, his voice still
lacks substance for the part of Ottone. On the other hand, Ralf Popken
probably offers his best recorded performance in a Handel opera. Not
only is he at his brightest and most natural, but also the part becomes
the counter-tenor voice. Michael Dean brings a handsome bass to the
role of Pallante, but Nicholas Isherwood is too woolly for the important
part of Claudio.
Although
Malgoire's performance is still soft-edged for a work such as Agrippina, it captures
the farsical aspects of Venitian operatic style in a way that eludes both Gardiner
and McGegan. This means that, although the performance lacks some sparkles, the
safer tempi adopted here give orchestra and soloists operating space to build
a theatrical experience (as one should expect of a live performance - stage noises
included). In the title role, Véronique Gens is the most beguiling of recorded
Agrippinas, with her velvety-toned soprano and utterly musicianly phrasing. Some
may point that her manners do not fit the character of the calculating empress
and that she sounds too congenial to cause the right effect, but there is much
to cherish in her exquisitely sung performance (sample her lovely Ogni vento to
get the picture). Ingrid Perruche's rich-toned Poppea has her untidy moments,
but is aptly sexy. Philippe Jaroussky's bright countertenor copes admirably with
the part of Nero and outshines his rivals in terms of polished singing. However,
the adolescent drive so important to this character is quite muted. Thierry Grégoire
is shallow-toned and too oratorio-like in sound for the part of Ottone. One could
say the same of Fabrice de Falco, but the part is less important and theatrically
demanding. Nigel Smith's powerful Claudio is a bit on the throaty side and has
the occasional clumsy moment. Bernard Delétré is decent enough,
despite the aspirated runs.
top
~Alcina
1 - Anja Harteros (Alcina), Verónica Cangemi (Morgana), Deborah
York (Oberto), Sonia Prina (Bradamente), Vesselina Kasarova (Ruggiero),
John Mark Ainsley (Oronte), Cristopher Purves (Melisso), Bayerisches
Staatsorchester, Ivor Bolton
2
- Joan Sutherland (Alcina), Graziella Sciutti (Morgana), Mirella Freni
(Oberto), Monica Sinclair (Bradamante), Teresa Berganza (Ruggiero),
Luigi Alva (Oronte), Ezio Flagello (Melisso), London Symphony, Richard
Bonynge
3
- Arleen Augér (Alcina), Eiddwen Harrhy (Morgana), Patrizia Kwella
(Oberto), Kathleen Kuhlmann (Bradamante), Della Jones (Ruggiero), Maldwyn
Davies (Oronte), John Tomlinson (Melisso), City of London Baroque Sinfonia,
Richard Hickox
4
- Renée Fleming (Alcina), Natalie Dessay (Morgana), Juanita Lascarro
(Oberto), Kathleen Kuhlmann (Bradamante), Susan Graham (Ruggiero), Timothy
Robinson (Oronte), Laurent Naourri (Melisso), Les Arts Florissants,
William Christie
5
- Yvonne Kenny (Alcina), Cyndia Sieden (Morgana), Susanne Ryden (Oberto),
Ewa Wolak (Bradamante), Wilke te Brummestroete (Ruggiero), Iain Paton
(Oronte), Andrew Foster-Williams (Melisso), Philharmonia Baroque Orchestra,
Nicholas McGegan
Premiered
in 1735, Alcina was the second work Handel composed for the Covent Garden, after
he had lost his former theatre, the King’s Theatre, and entourage. The whole
idea was to rival the other house offering fabulous entertainment - and I guess
he was quite successful, since the work had 18 performances, which was a fantastic
rate for those days. This is probably Handel’s best opera, with expressive
arias of contrasted nature showing fresh inspiration throughout. The title role
is one of Handel’s most difficult female parts, since it requires not only
the usual ease with florid singing, but also the kind of vocal weight not usually
found among baroque specialists. I suppose that Alcina has so many beautiful arias
because the prima donna in the original performances, Anna Maria Strada del Pò,
was the only singer from the King’s Theatre who followed Handel to his new
enterprise. Another curiosity is that the part of Oberto was written specifically
for a very talented boy soprano called William Salvage. As a matter of fact, also
in order to flatter the audiences, this opera had two other English singers in
leading roles - John Beard as Oronte and Cecilia Young (who got the most famous
aria in the opera, Tornami a vagheggiar) as Morgana.
Handel’s
powers of musical characterization were at their peak and each singer has a particular
style of singing. Alcina sings dramatic oratorio-like arias and only once an Italianate
coloratura display - of course in her rage aria (Ma quando tornerai). It is particularly
brilliant of Handel to show the sorceress Alcina in such congenial melodic atmosphere
- we are supposed to be moved by the woman who has the power over everything but
her heart. And so we do - Mi restano le lagrime being one of the most expressive
arias in Handel’s output. Her fickle sister Morgana has a more operatic style
to deal with - virtuosistic writing either in coloratura showpieces such as Or
s’apre al riso or in perilously high lying arie d’affetto such as Ama,
sospira. Her fiancé, Oronte, has conventional buffo writing, but - probably
to please someone who was going to be England’s most important tenor - was
also given the charming Un momento di contento.
However,
the most brilliant piece of characterization was bestowed on the couple Bradamante/
Ruggiero. The brave and stern maid who disguises as a guy to save her intended
husband (originally sung by the contralto Maria Caterina Negri, the first Polinesso
in Ariodante) has exclusively arie di bravura with more than a colour of military
affetto. Her only "feminine" aria, All’alma fedel, in tempo di
minuetto, appears only when she is assured of the affection of her bethroted.
In the other hand, Ruggiero, who has abandoned his man’s duties as a soldier
and a husband-to-be in order to be Alcina’s lover in charge, gets all the
lyric arias of reflexive mood. He only abandons this meditative atmosphere when
he’s jealous and the affetto is more mocking than brave. Only after promising
his bride that they’re going to leave the enchanted island together that
Ruggiero gets a martial aria, Stà nell’Ircana.
Bonynge’s
recording was a pioneer. Moreover, he took all the cares available those
days to ensure that this was going to be a stylistic recording. The
harpsichordist George Malcolm responds for the continuo and a team of
handpicked style-sensitive soloists was chosen. The orchestra is still
a bit heavy and the ornamentation very severe, but it has its moments.
Joan Sutherland, alas, is the most disappointing soloists. Her diction
is particularly cloudy and she was not in her purest voice. Therefore,
Ma quando tornerai and Tornami a vagheggiar (taken
from Morgana) remain her best moments. I have never found Graziella
Sciutti’s singing so pleasing as it is here, even if it still sounds
outdated by today's standards. Mirella Freni, on the other hand, is
really satisfying as Oberto. Teresa Berganza is particularly successful
in the castrato role, with clean coloratura and musicianly phrasing.
Her only fault is to sound too feminine. It is, nevertheless, Monica
Sinclair as Bradamante the most interesting member of the cast. Her
purposefulness and virtuoso quality make her every aria cause a grand
impression. Luigi Alva is not completely at home with what he has to
sing, but Ezio Flagello is in rich voice.
Hickox’s
recording is a most pleasing entry in this discography. EMI gave him
natural recorded sound and, even if he is not the most inspired of conductors,
the performance is faultless and the orchestra has a beautiful sonority.
Arleen Augér is a wonderful Alcina, very intense and expressive
without ever trespassing the limits of baroque style. Eiddwen Harrhy
is a bit heavy as Morgana, but Patrizia Kwella is appropriately boyish
as Oberto. Kathleen Kuhlmann is excellent as Bradamante and her coloratura
technique is exemplary. She is also a very exciting performer. Maldwyn
Davies is a pleasing Oronte, but John Tomlinson was too heavy voiced
when this recording was made. Unfortunately, Della Jones’s voice
is high for the role of Ruggiero. She does not sound really natural
in her lower register and tries to compensate with some overinflection.
However, she is always an interesting singer and offers a brilliant
Bramo di trionfar, an alternative aria which makes the edition
adopted here more than complete.
William
Christie’s recording was made live in Paris. The idea was gathering
a jet set cast and making some money, I suppose, since he worked with
these soloists here never to meet them again in the studio. Christie’s
tempi may be a bit eccentric, but they sound right during complete listening
and there is plenty of theatrical atmosphere. The recorded sound lacks
focus and one cannot hear the horns in Stà nell’Ircana,
for example. At first, Renée Fleming appears to have rather naughty
ideas about rubato in baroque music and adopts a heavily expressive
style. Also, it is impossible to tell which notes she is singing when
the coloratura starts in Ma quando tornerai. However, repeated
listenings may soften that opinion. It is impossible to overlook her
complete commitment to her role. The longer arias really sound fresh
sung in her Billie Holiday-like intensity and she knows how to boost
expression in the section b of an aria. If she is unfaithful to the
rules of baroque aesthetics, one could say she is faithful to its spirit.
All in all, there is her velvety voice when not in pressure and the
ability to produce trills. Natalie Dessay, on the other hand, adapted
beautifully into the frame of baroque opera, even if some of her ornamentation
is exaggerated. Anyway, she is in wonderful voice and sings sensitively
throughout. Her Tornami a vagheggiar with some stratospheric
top notes is exciting, no matter what. Susan Graham also turned into
a believable Handelian, even if the voice is again too high for the
role. Nevertheless, her natural musicianship and expression make for
memorable moments, such as in the gorgeous Mi lusinga il dolce affetto.
Although Kathleen Kuhlmann’s voice is not as fresh as it used to
be, she is still the resourceful and engaged singer of the previous
recording. Timothy Robinson is an unimpressive Oronte. Laurent Naouri
is a correct Melisso, but the singer chosen for Oberto is miscast.
McGegan’s
Alcina is above all a forward-moving sprightly performance, played with
gusto by the Philharmonia Baroque Orchestra. However, all the animation
is sometimes made at the expense of polish, such as in Bradamente’s
arias, where the speed makes it impossible for the singer to sing it
with comfort. His reading avoids sentimentalism and even Alcina’s
arias receive a straightforward approach that may sound refreshing.
In this sense, he found a perfect leading lady in Yvonne Kenny, who
focuses rather in Alcina’s imperious and calculating side. She
is admirably agile and clean in her phrasing, but her voice is made
to sound edgy throughout, especially in high notes, where it sounds
forced and un-legato-ish. Cyndia Sieden is also afflicted by hardness
in her top notes, but is charming, bright and flexible enough. One could
point that she chops her phrases too often, but that should take second
place to the fact that the part suits her voice and temper as a glove.
A good surprise (for me, at least) in the cast is Ewa Wolak’s rich-toned
contralto. Her Bradamante calls all attentions with such a deep, firm
and positive tone. It is a pity that the insensible pace chosen for
her arias makes it impossible for her to deal with the passagework in
a completely musical way. Wilke te Brummelstroete’s mezzo is velvety
and natural throughout the range and her imagination almost disguises
the fact that the part is a bit too florid for her. Iain Paton is also
a pleasant Oronte, singing with a firm line and commitment, even when
the tempo is too fast. Andrew Foster-Williams is a reliable Melisso,
but Susanne Ryden is not totally at ease as Oberto.
Recorded
live in Munich's Prinzregententheater in 2005, Ivor Bolton's Alcina
preserves the theatrical atmosphere not immediately associated to a
conductor who avoids the white-heat intensities of a Minkowski or a
Jacobs. To his credit, he finds no problem in formatting the sound of
the Bavarian State Opera Orchestra to Handelian standards, but do not
mistake my words: this is not one of those well-behaved Handel performances
often found in big theatres. Bolton offers animated tempi and is not
afraid of asking earthier sonorities from his musicians to spice it
up a bit. If I am not more animated about this release, it is only because
I find that Farao Classics should have waited a bit longer to record
this Alcina. I had the good luck to see one of these performances in
2007 and cannot help realizing that the soloists were in noticeably
better shape two years later (while all the replacements in the cast
had been for the better). Bolton's prima donna, Anja Harteros, has the
sort of sizeable rich lyric sopranos adept in floating mezza voce taylor-made
for an Arabella or a Feldmarschallin. She has enough flexibility for
the florid writing, has an acceptable trill and more than enough dramatic
temper. Her sense of Handelian style is superior to, say, Renée
Fleming's in William Christie's recording and if you sense that I am
not more enthusiastic, it is only because I am used to brighter and
more-focused tone in this repertoire. Maybe hers is one of those voices
that work better live - I certainly remember to be far more impressed
by her performance live. Verónica Cangemi is a charming stylish
singer, but the role of Morgana is simply too high for her. As a result,
the ascents up to the extreme end of the tessitura find her invariably
tense and not entirely ingratiating. Truth be said, by force of good
technique and musicianship she still produces some beautiful moments,
especially in her act II aria. Italian contralto Sonia Prina offers
an admirable Bradamante, featuring exciting passagework and a fiery
attitude. Unfortunately, the key role of Ruggiero is seriously miscast,
a drawback difficult to overlook for any Handelian. Despite her obvious
virtues - especially in what concerns coloratura - Vesselina Kasarova
is a complete foreign to baroque style. Her manipulation of registers
sounds grotesque in this repertoire, her overwrought expressive style
spoils the clarity of recitatives and her indulgence in glottal attacks
is not healthy to clean phrasing. On the other hand, Deborah York's
boyish soprano is aptly cast for the role of Oberto. I am afraid John
Mark Ainsly's tenor saw more pleasant days in the past, but he is still
an experienced Handelian. Finally, Cristopher Purves's grainy bass is
not entirely comfortable with the low notes in the part of Melisso.
The recorded sound involves a great deal of stage noise, but the perspective
is most natural. The edition is complete, including all dance numbers,
which were imaginatively choreographed in Cristof Loy's beautiful staging.
It is indeed a pity that a DVD was not released.
top
~Alessandro
1
- Sophie Boulin (Rossane), Isabelle Poulenaard (Lisaura), René Jacobs (Alessandro),
Jean Nirouët (Clito), Guy de Mey (Cleone), Stephen Varcoe (Leonato), La Petite
Bande, Sigiswald Kuijken
Forget about Callas/Tebaldi...
Let’s talk about the two rival divas, Francesca Cuzzoni and Faustina
Bordoni. By the time Handel was in the Royal Academy of Music, Cuzzoni
used to be the diva and shared all the attentions with the primo uomo,
the castrato Senesino. Everything was fine for her and she was richly
paid, until the Academy decided to hire Bordoni in 1725. It wouldn’t
have been really bad if they didn’t have to sing in the same opera.
But that happened - quite often! Handel himself wrote five operas for
them and Alessandro was the first of them. Every care was taken so that
they got the same number of arias, among many other details. Well, thank
God, it was in an opera by Bononcini that they finally decided to kill
each other on stage... anyway, it was only a diva thing and they only
exchaged blows... There is a description of their talents by Quantz:
He praises Cuzzoni’s bright charming voice up to high c and naturality,
but says she didn’t have the best of coloraturas and was a bad
actress. On the other hand, he says that Bordoni was rather mezzo soprano-like
in range and colour, very skilled in passagework, gave real importance
to the text and was a good actress. In the première of Alessandro,
Cuzzoni was Lisaura and Bordoni was Rossane. Senesino, the famous castrato,
was Alessandro.
Of
course that, with all the sensation caused by the casting of both leading divas
of their generation (and divas who hated each other, it is never enough repeating...),
the opera was a huge success, but it was soon forgotten and it is rarely performed
today. Even if the libretto is very silly, this is really unfair, for Alessandro
ranks among the best operas by Handel. The orchestral numbers are delightful,
the arias are contrasted and melodically inspired and there are some expressive
recitatives. There is even a duet for the sopranos (gorgeous, by the way)!
Kuijken’s is the only
recording in the catalogue and, most unfortunatelly, it is very hard
to find, but it is definitely worthwhile. I disagree entirely with British
reviewers and I assume they may be jealous of this non-British excellent
recording. Kuijken is a very good Handelian - he always catches the
right mood of each number and gives it the most fitting pace. He avoids
the "ugly" effects of a Minkowski and everything sounds natural
and beautiful, but doesn’t fall in the trap of being bland at the
same time. Moreover, his group, La Petite Bande, is a most accomplished
team. Here he gathers a most pleasing cast. For the rival prime donne,
he invited two French sopranos and I could not be happier with his choice,
since they are really really charming, expressive, characterful and
have good Italian. The brighter and higher voiced Isabelle Poulenard
gets the Cuzzoni role and she is aptly affecting and spontaneous, while
the richer voiced Sophie Boulin sings the Bordoni role. I have an extra
word for Boulin here - her singing is so seductive and musicianly that
I understand why Alessandro falls for her Rossane. I also have a high
opinion of the two countertenors taking the castrato parts. I often
prefer contraltos singing these roles because most countertenors sound
soft-centered and unmasculine, but René Jacobs is here a particularly
positive performer. His sound is bright, incisive and he has wonderful
low notes. Moreover, his voice has a believable castrato sound - since
it does not sound feminine. It sounds... different, and I think that
this is the idea. Even if he is successful on suggesting Alexander’s
vigour, there are some precious phrasing and aspirated coloratura. Jean
Nirouet shares most of these qualities with Jacobs, only his voice is
a bit more velvety. Guy de Mey and Stephen Varcoe complete the good
cast. The recording is excellent.
top
~Almira
1
- Ann Monoyios (Almira), Patricia Rozario ((Edilia), Linda Gerrard (Bellante),
Jamie MacDougall (Fernando), Douglas Nasrawi (Osman), Christian Elsner (Tabarco),
Olaf Haye (Raymondo), David Thomas (Consalvo), Fiori Musicali, Andrew Lawrence-King
top
~Amadigi
1
- Jennifer Smith (Oriana), Eiddwen Harrhy ((Melissa), Nathalie Stutzmann (Amadigi),
Bernarda Fink (Dardano), Pascal Bertin (Orgando), Les Musiciens du Louvre, Marc
Minkowski
Amadigi di Gaula was Handel’s
fifth opera composed for London. It was premièred at the King’s
Theatre in 1715 and the whole idea was to re-create the sucess of Rinaldo,
Handel’s first operatic enterprise in England. Their aim was fulfilled
in most aspects - however, sophisticated sceneries and publicity helped
it a lot. Also, the plot is very similar to the one in Rinaldo (with
the exception of the war episodes). Also, some of the same singers in
the première of Rinaldo were invited to sing the related roles
in the opening of Amadigi. So, the jealous sorceresses were played by
Elisabetta Pilotti-Schiavonetti and the castrato hero by Nicolini. Oriana
was intended for Anastasia Robinson and the trouser role of the prince
Dardanus was sung by Diana Vico, a specialist in this kind of role.
It is particularly curious,
though, that Amadigi couldn’t be more different from Rinaldo -
maybe because the source of the libretto was French (La Motte’s
Amadis de Grèce for André des Touches), this work has
a completely different tinta. It is one of Handel’s loveliest works
and it centers around the most meditative and melodic arias one could
imagine. It gives the whole a certain darker colour, which makes it
more delightful. Its short length and contrasted dramatic situations
(although the plot is very thin) also make for very good entertainment.
Minkowski’s recording
is one of the most enjoyable recordings of an opera by Handel. He is
a conductor who knows how to make his orchestra "sing" with
the singers and the result is very intense and expressive. Although
he generally goes for faster paces and more brilliancy, I couldn’t
congratulate him more for having adapted to the subtler atmosphere of
this work and this only proves his genius as a Handelian. He also has
a sensational team of soloists. It is a challenge to cast an opera that
offers roles exclusively for high voices - but these singers are wonderfully
contrasted and expressive. I can’t say I delight in Jennifer Smith’s
voice itself, but I do delight in the fact that it works wonderfully
for roles where a youthful radiance must be suggested. It has an ability
of suggesting tenderness, modesty and gentleness that is everything
her role asks for. On the other hand, Eiddwen Harrhy’s voice has
the right kind of metal for her role. She is also very passionate and
completely engaged in the dramatic situations faced by her character.
Bernarda Fink is also outstanding as Dardanus - her flexible voice and
sophisticated phrasing make for a great performance. However, I think
Nathalie Stutzmann deserves pride of place. Her unique voice eschews
feminility, but does not sound hard or inflexible. On the contrary,
her phrasing is amazingly sensitive and poignant. In the tiny role of
Orgando, Pascal Bertin gives a good impression with his clear bright
counter-tenor, but he should improve his Italian. The recorded sound
is excellent.
top
~Ariodante
1
- Juliana Gondek (Ginevra), Lisa Saffer (Dalinda), Lorraine Hunt (Ariodante),
Jennifer Lane (Polinesso), Rufus Müller (Lurcanio), Nicolas Cavalier
(The King), Freiburg Baroque Orchestra, Nicholas McGegan
2 - Lynne Dawson (Ginevra),
Veronica Cangemi (Dalinda), Anne Sofie von Otter (Ariodante), Ewa Podles
(Polinesso), Richard Croft (Lurcanio), Denis Sedov (The King), Les Musiciens
du Louvre, Marc Minkowski
3 - Laura Cherici (Ginevra),
Marta Vandoni Iorio (Dalinda), Ann Hallenberg (Ariodante), Mary-Ellen
Nesi (Polinesso), Zachary Stains (Lurcanio), Carlo Lepore (The King),
Il Complesso Barocco, Alan Curtis
Ariodante
- premièred on January 8, 1735 - wass Handel’s first opera for the
Covent Garden. After the intrigues which led him to leave the King’s Theatre,
he luckily found in John Rich’s theatre a venue for his production. The Covent
Garden was rich in theatrical resources - with sophisticated stage machines, actors
for crowd scenes and a ballet team. However, musically, things were not that easy.
Handel had lost all his leading singers for the rival company and the orchestra
he had then was not in the level of the old one. So, while composing Ariodante,
he had to deal with lots of practical problems. In the end, the opera had to be
revised for its new circumstances - but it had a sucessful run of performances.
As a matter of fact, many of Handel’s most famous operas belong to this transition
period, where Handel had to innovate a lot to adapt to his new means: he hired
English singers for main parts, gave leading roles to basses and used tenors for
romantic roles. Also, probably pressed by the need for success, his genius was
at his height. In Ariodante, we have many niceties, such as the thematically related
ballet scenes (the one involving the sad and happy dreams having proto-symphonic
elements), scenes with chorus and dramatic points in the alteration of the general
structure of the aria da capo. The original cast had the castrato Carestini as
Ariodante, prima donna Anna Maria Strada del Pò as Ginevra, the contralto
Maria Negri as the villain Polinesso, Cecilia Young as Dalinda, John Beard as
Lurcanio and Gustavus Waltz as the King.
Nicholas McGegan’s
performance is above all a very elegant one, with the Freiburger Barockorchester
offering refined and accurate sounds, recorded in natural acoustics.
McGegan is primarily concerned with clarity, looking for dance rhythms
and euphonic playing in every number. The casting of Lorraine Hunt in
the title role is most fortunate, since her performance is more than
sensational - it is legendary. No other mezzo soprano before her or
contemporary is so impressive in high castrato roles - she has it all:
amazing coloratura, a bright but warm tone with an energetic quality
about it and she is thoroughly stylish. Her naturalness in low tessitura
is a lesson to any singer and her knowledge of baroque music is exemplary.
I am sure Hunt is a singer dear for every Handelian. Nobody in the cast
is in her surpassing standards, but Jennifer Lane is a most satisfying
Polinesso. Her light contralto is very pleasing and shows no difficulties.
Moreover, she avoids the stereotypic villain approach and offers a highly
witty and sophisticated performance. Lisa Saffer is also very very charming
as Dalinda - her bell-like soprano used with utmost sensitivity and
good taste. It is a pity that Juliana Gondek’s voice is a on the
metallic side - for she is a most accomplished singer with enough temperament
for a prima donna role. She only lacks a charming tone. Rufüs Müller
has a darker voice than most tenors specialized in Baroque repertoire.
It lacks some roundness, but it is naturality itself. Nicolas Cavalier’s
bass is a bit routine, but he knows how to deal with Handelian melodies.
It may sound funny that
McGegan with his German orchestra sounds more French than a French conductor
and his French orchestra, but the fact is that Minkowski does not seem
really interested in dance, but in drama. He offers the most impressive
orchestral effects and gives pride of place to vigour. Some may think
it is hard-edged and unpolished, but it really makes a long opera sound
its freshest and most engaging. The recorded sound is also very immediate
and clear. Compared to McGegan’s, this recording is decidedly more
interesting in the fast numbers - in the slow ones, McGegan tends to
have a more flowing pace and more elegant phrasing. I would say that,
in the overall sense, Minkowsi scores with his more dramatic approach.
I notice that Anne Sofie von Otter’s name is bigger than everyone
else’s in the cover - and this is very unfair, because the cast
is strong all the way. Although the role is a bit low for her voice,
which is - to start with - too feminine, she has all the flexibility
required by Handel and adds some beautiful top notes. I still prefer
Lorraine Hunt’s voice, which is taylor-made for the role and whose
sense of style is even stronger, but repeated listenings started to
highlight that Otter makes more of the text than Hunt. On the other
hand, Lynne Dawson is a complete sucess as Ginevra. She is in charming
voice and phrases with fluency. I still think that the role benefits
from a bigger voice (it was written for the same singer who premiered
Alcina), but Dawson is a pleasure to the ears and very characterful
too and preferable to McGegan’s Gondek. Veronica Cangemi’s
soprano is not as beautiful as Lisa Saffer’s, but she sparkles
more with the consistently fast tempi Minkowski gives her. Ewa Podles
voice is very effective for male roles - she does sound like a tenor
sometimes. Her characterization is demonstrative - she is every second
the bad guy. I wonder how the other characters did not notice that with
so much "Bette Davis"-like singing. Richard Croft is also
impressive as Lucanio - it is always a pleasure to find a tenor who
really sings in the Handelian repertoire. He is also extremely accomplished
in coloratura. Dennis Sedov is a most interesting King - a deep and
noble bass voice.
Recorded live at the Teatro
Caio Melisson in Spoleto, Alan Curtis's Ariodante is a staged performance,
but you will really have to see the video to believe that - the conductor
has never been famous for his sense of drama, but this is by far his
less theatrical operatic recording. Tempi are comfortable to the extent
of reluctance, the expressive power of phrasing is reduced to politeness,
atmosphere is largely nonexistant (the less intense Scherza, infida
in the discography is the most lamentable example). To make things
worse, although there are relatively few numbers cut, a great deal of
important arias (such Con l'ali di costanza) are shorn of their
B sections (sometimes, the surviving A section is also trimmed) in order
to keep the stage action moving. However, the stage action moves clumsily...
John Pascoe's production seems to pay a tribute to Mexican soap opera
- the semi-gothic, semi 40's sceneries are kitsch, the costumes are
overdone, the stage direction involves dangerous levels of curtseying,
bowing and simpering. When one believes silliness has reached its apex,
then there is a "clever" interpretation of the closing scene...
Confronted with such nonsense, the singers taking the roles of Ginevra,
Dalinda and Polinesso decided to embrace kitsch as if their lives depended
on that and acquit themselves quite commendaly - the others just accept
the fact that they will seem inevitably awkward. Although the metallic
edge in Laura Cherici's soprano does not suggest Ginevra's patrician
allure, she commands every other quality a Handelian prima donna should
possess - effortless coloratura, trills, imaginative decoration, vivid
declamation and the necessary pathos for her lamenti and arie d'affetto.
Marta Vandoni Iorio is a stylish, sweet-toned Dalinda with reserves
of temper (and agility) for her aria di furia. Mary-Ellen Nesi's contralto
is not entirely smooth (especially around the passaggio), but she is
an artist of immense panache who wrestles with the difficult fioriture
without ever missing the dramatic point behind them. Although she never
looks convincing in male roles (and her costumes do not help her at
all), Ann Hallenberg offers an exemplary performance of the title role.
Her tonal quality is lovely and noble, her phrasing is sensitive and
her technical abandon is praiseworthy. It is doubly sad that almost
every aria she sings is edited and that the conductor leaves her almost
alone to deal with expressive matters. When it comes to Zachary Stains's
Lurcanio, it is difficult to go beyond the glaring nasality. Carlo Lepore
lends his resonant round bass to the role of the King and achieves some
touching moments in his arias from Acts II and III.
top
~Arminio
1
- Geraldine McGreevy (Tusnelda), Dominique Labelle (Sigismondo), Vivica Genaux
(Arminio), Manuela Custer (Ramise), Syste Buwalda (Tullio), Luigi Petroni (Varo),
Riccardo Ristori (Segeste), Il Complesso Barroco, Alan Curtis
Arminio was not exactly
a success by the time of its première - on the contrary. Because of
that, it acquired the notorious reputation of being a work of little
interest. It is true that it doesn't compare to the greatest Handelian
operas, such as Alcina or Orlando, but it is almost on the level of
Ariodante, for example. My observation is that it lacks a "hit" tune,
such as Ariodante's "Scherza, infida". However, it has a nice collection
of arie di bravura. Now it has been nicely recorded by Virgin and all
the praises go to Alan Curtis, the interesting conductor who makes sure
that the music sound the most attractive it can - with well-judged tempi,
sprightly and beautiful phrasing and a good theatrical atmosphere. The
playing of the Complesso Barocco orchestra deserves the warmest applauses.
It has a naturality and beauty worthy of the genius of Handel. The cast
is very competent, but I feel that casting Handel operas should require
only the best singers - and I am not talking of purely technical qualities,
but, more than that, of the ones capable of the greatest level of expression.
Alas, our cast here is a bit on the cold side. The redeeming feature
is luckily the singer taking the main role, Vivica Genaux. She has the
necessary naturality in low tessitura, beautiful top notes, amazing
agility and is always 100% involved in what she is singing. In the secondary
contralto female role, Manuela Custer - in a far less exciting level
- is also really pleasing, displaying firm tone and spontaneous musicianship.
I am inclined to say something good about Dominique Labelle, because
I found her velvety tone and clean coloratura to be quite admirable,
but I found that she was quite unconcerned about the drama. Then, there
is Geraldine McGreevy in the prima dona role. She is a quite "correct"
singer, but she is sorely unimpressive in a prima donna role. The voice
is not quite distinctive and she lacks charisma in a general way. She
would be a nice seconda donna. Another disappointment for me was Luigi
Petroni. When I read that a Handel opera would count with an Italian
tenor in its cast, I was really curious, but the fact is that Petroni
has a rather nasal tone and not the most flowing of phrasings. The other
Italian in the cast, Riccardo Ristori, the bass, is more accomplished,
but far from outstanding. Finally, the casting of the male part of Tulio
with a countertenor, as usually in Handel's operas, was a big mistake,
especially because Handel had a female contralto en travesti in the
original performances. Moreover, Stylse Buwalda has an eerie unfocused
voice.
top
~Atalanta
1
- Katalin Farkas (Atalanta), Eva Bartfai-Baarta (Meleagro), Eva Lax (Irene), János
Bándi (Aminta), Jószef Gregor (Nicandro), Lászlo Polgár
(Mercurio), Capella Savaria, Nicholas McGegan
Written for the wedding
of the Prince Frederick of Wales to the Princess Augusta of Saxe-Gotha
in 1736, Atalanta was premièred at the Covent Garden with Anna
Maria Strada del Pò as Atalanta, the castrato Giziello as Meleagro,
Maria Caterina Negri as Irene, John Beard as Aminta and Gustavus Waltz
as Nicandro. The opera starts right away with the exquisite Care Selve
and goes with unfaltering grace to the end, revealing Handel at his
most inspired, especially if one has in mind that he composed the work
in about one month. Although the general atmosphere is bucholic, there
is a great variety of arias for all characters, but there is also a
richness of choral passages and even two duets for the leading couple.
As often in his Covent Garden days, the soprano Anna Strada del Pò
receives brilliant pieces and her entrance aria, with its military affeto,
would appear again in Giustino as Vitaliano’s All’armi guerrieri.
Also, the exceptional talents of Giziello led Handel to impressive coloratura
displays, such as the final aria in act 1, where the range goes to a
soprano top c. The opera was a success in its first season and was reprised
under the request of the prince and the princess. Given its beauties,
one may ask why Atalanta has failed to beguile today’s audiences.
The answer is that the libretto is basically undramatic. What we see
is rather a pastorale with a sketchy plot ending on a licenza, a stage
celebration with allegoric meaning.
Nicholas McGegan is in
his element in the brilliant and evocative atmosphere of Atalanta. The
Capella Savaria plays richly for him and the recitatives are spontaneous
and keep the animation of the numbers in the score. The warm acoustics
are helpful as well. In the title role, Katalin Farkas’s bright
soprano is completely at ease with the virtuosistic demands and is charming
enough. There is a Viennese-like quality about her voice which sometimes
makes one think of a Zerbinetta rather than a Handelian prima donna,
but it would be absurd to withstand such an accomplished performance
because of that. In the difficult soprano castrato role, Eva Bartfai-Barta
offers a very irregular performance. The tone itself is pleasant and
appropriate to the breeches role, but her upper range can get really
pinched and pitch is not entirely reliable. Eva Lax’s spontaneous
and fluent mezzo soprano deals with Irene’s writing without much
ado, but one cannot help think of what a richer-voiced and more characterful
singer such as Bernarda Fink would do with it. Many may find that Janos
Bándi’s tenor is a bit robust for Handel, but I found quite
refreshing to listen to a tenor really full-toned singing without artifficialities
this repertoire. His Aminta is ardent within the limits of stylishness.
Joszef Gregor, the versatile singer, is beautifully adapted to Handel
and sings with energy and wit as Nicandro. Laszlo Polgár starts
a bit woolly but warms to a virtuosistic account of his aria.
top
~Deidamia
1 - Simone Kermes (Deidamia), Dominique
Labelle (Nerea), Anna Maria Panzarella (Achille), Anna Bonitatibus (Ulisse), Furio
Zanasi (Fenice), Antonio Abete (Licomede), Il Complesso Barocco, Alan Curtis
Handel's
last opera, Deidamia is a comic piece with a very slack plot centering on how
Ulysses was sent to Scyrus in order to convince the young Achilles out from his
love-making with Princess Deidamia into the Trojan War. A light score with some
charming numbers, Deidamia suffers from a certain lack of variety and expression.
Premièred at the Theatre Royal in London on January 10th 1741, the opera
was first sung by Elisabeth Duparc (La Francesina) as Deidamia, Maria Monza as
Nerea, Miss Edwards as Achille, the castrato Giovanni Battista Andreoni as Ulisse,
William Salvage as Fenice and Henry Theodore Reinhold as Licomede.
Alan
Curtis conducts a charming performance, warmly and colourfully played by the Complesso
Barocco. The light atmosphere is perfectly caught by the conductor, who gives
it plenty of rhythmic vitality and elegance. In the prima donna role, Simone Kermes
displays a pure toned soprano that takes readily to coloratura and in alts. She
sings sensitively and with utter musicianship, but an overcool middle register
and a thin high mezza voce stand between her and complete success. As Nerea, Dominique
Labelle's creamy soprano is delightful all the way, even if she sounds a bit cautious
in the both ends of her range. In a difficult breeches role, Anna Maria Panzarella
sounds too feminine to produce the right effect, but her richer tone and sheer
energy do tell her from the other sopranos in the cast. In the castrato part,
Anna Bonitatibus sings with such a beguiling warm seductive tone that she cannot
help sounding the most charming member of the cast. Although one could wish for
a more "masculine" voice, her performance is so technically dazzling,
stylish and sensitive that I am thankful to find her recorded at all. Furio Zanasi's
flexible characterful singing is efficient enough for the role of Fenice, while
Antonio Abete's bass does lack depth and sounds too much the Renaissance music
voice.
top
~Flavio
1
- Lena Lootens (Emilia), Christina Höggman (Vitige), Bernarda Fink (Teodata),
Jeffrey Gall (Flavio), Derek Lee Ragin (Guido), Gianpaolo Fagotto (Ugone), Ulrich
Messthaler (Lotario), Ensemble 415, René Jacobs
Premièred
on the King’s Theatre in 1723, Flavio was definitely not a sucessful opera
- it had only eight performances and Handell revived it only once. Since then,
it has been still one of Handel works "unknown" by the audiences. This
is really unfair, for the opera abounds in charming numbers, such as the gorgeous
aria di affetto Non credo istabili, the exquisite lament Ma chi punir desio? and
one of Handel’s most exciting coloratura displays, Rompo i lacci. It also
has a charming libretto, which is basically semiserio and deals with a series
of events involving two couples, a more serious one - Guido and Emilia, and a
more comic one, Teodata and Vitige. The serious part of the plot is mainly about
the rivalry between Emilia’s and Guido’s fathers because of the governorship
of Britain, leading to a murder on stage.
Handel
had a great cast in the première: with Senesino taking the role of Guido,
Gaetano Berenstadt (my researches led me to think this an example of the rare
case of a non-Italian castrato) as Flavio, the king of Lombardy, Francesca Cuzzoni
as Emilia, Margherita Durastanti as Vitige, the bass Giuseppe Boschi as Lotario,
the English contralto Anastasia Robinson as Teodata and the Scottish tenor Alexander
Gordon as Ugone. This prestigious group of singers must have been one of the reasons
Handel wrote such an inspired sequence of arias for this opera.
René Jacobs’
recording is a beautiful tribute to a neglected jewel. His conducting
is wonderful - fast numbers fizz excitingly, slower ones get flowing
tempi and delicate phrasing. More than that - it makes sense dramatically
throughout and even recitatives have been thoroughly taken care of.
His group, the Ensemble 415, is accurate and offers consistently beautiful
playing. At first, Lena Lootens does not produce a great impression
in the prima donna role of Emilia. Her voice remembers those slightly
off-focus fragile-voiced English oratorio sopranos of the 70’s,
but she eventually wins us over with her drammatically alert performance
and musicianly phrasing. She also has beautiful mezza voce. Christina
Högman in the trouser soprano role of Vitige is a complete sucess.
Although her coloratura is not ideally secure, she has a most pleasing
voice, which she uses with utmost intelligence and good taste. Also,
she never forgets she is playing a male role and is convincingly boyish.
As the charming Teodata, Bernarda Fink is also very nice with her clear
yet sensuous mezzo soprano. The two castrato roles are taken by countertenors,
but this should not put suspicious listeners off, especially in Jeffrey
Gall’s case. His low register is wonderfully imposing and he goes
to his top notes with incredible panache. The voice seems to have modest
proportions, but he is really convincing in his role. Derek Lee Ragin’s
vocalization is always eccentric, with its slightly misplaced tone and
inconsistence of registers, but the truth is that he is in fresh voice
and excells in coloratura. As always, I find his singing too be too
affected and it is difficult to believe he would kill anyone, let alone
in a duel. Most reviewers disliked Gianpaolo Fagotto’s Ugone, but
I thought it to be in keeping with his character. His voice is firm
and agile but suggest he is an older man. Ulrich Messthaler has a nice
bass, but sometimes exaggerates in his characterization.
top
~Floridante
1 - Katalin Farkas (Rossane),
Mária Zádori (Timante), Anette Markert (Elmira), Drew
Minter (Floridante), István Gáti (Oronte), Jószef
Moldvay (Coralbo), Capella Savaria, Nicholas McGegan
2 - Nancy Argenta (Rossane),
Ingrid Attrot (Timante), Linda Maguire (Elmira), Catherine Robbin (Floridante),
Mel Braun (Oronte), Tafelmusik, Alan Curtis
3 - Sharon Rostorf-Zamir
(Rossane), Roberta Invernizzi (Timante), Joyce DiDonato (Elmira), Marijana
Mijanovic (Floridante), Vito Priante (Oronte), Riccardo Novaro (Coralbo),
Handel’s
13th opera, Floridante was premièred at the King’s Theatre in 1721
and, although it had a run of 15 performances, failed to produce the success Handel
expected to rival Bononcini's Griselda. However, the opera was revived in other
occasions and the composer was working on its score up to 1723, adding new arias
and retouching it. It is a pleasant work, with charming arias, and the overall
atmosphere is light and bucholic. The title role gets the most famous numbers
- the virtuosistic Bramo te sola and the hiighly expressive Se dolce m’era
già. It is curious that the opera feature two duets of haunting beauty,
especially Fuor del Periglio, the caressing lines of which have a quasi-Mozartian
quality. Another Mozartian moment is Elmira’s arioso Notte cara, which foreshadows
Barbarina’s L’ho perduta. Oronte’s Che veggo? Che sento? is also
worthy of mention with its Gluckian quality.
McGegan’s recording,
made live in a concert in Göttingen, is warm and pleasing enough,
with rich orchestral sounds from the Capella Savaria. Although the cast
is very competent, this work needs more vocal and interpretative glamour
to produce the right effect. Katalin Farkas in the prima donna role,
for instance, has a bright and agile voice, but the tone is completely
devoid of sensuousness, which is a fundamental quality for the caressing
music Handel wrote for that character. Maybe Mária Zádori
should be singing her role, since her voice is far lovelier than Farkas'.
Infact, Zádori’s feminine and delicate voice is miscast
for a breeches role. Annette Markert’s gentle contralto is a good
idea for Elmira, but she outpowers and sounds more masculine than her
Floridante, sung by the pale-toned Drew Minter - stylish and agile,
truth be said. Anyway, you just need to listen to Nathalie Stutzmann
singing his above-mentioned arias and you’ll see what is missing.
István Gáti is the rich and flexible voiced Oronte and
Jószef Moldvay the natural sounding Coralbo.
It is most unfortunate
that the Canadian Broadcast Company has decided only to record highlights of Floridante
with the Tafelmusik and Alan Curtis as guest conductor, since it is a most persuasive
account of this charming work. It certainly sparkles more than McGegan's performance
and succeeds in creating a theatrical atmosphere even if we have only a selected
choice of numbers. Also, the Tafelmusik offers light pleasing and warm sounds
throughout. The cast is delightful. In the prima donna rola, Nancy Argenta is
in silvery voice and invests her role with musicianship and personality. Linda
Maguire is also appealing as Elmira, her rich feminine mezzo aptly contrasted
to Catherine Robbin's darker and more incisive tone. As Floridante, the Canadian
contralto offers a virtuoso performance, encompassing both the melancholic and
heroic tones necessary for the part. The others have very little to sing, but
Ingrid Attrot's Jennifer Smith-like soprano deserves mention for her beautiful
partnership with Nancy Argenta in the exquisite duet Fuor del Periglio.
top
~Giulio
Cesare
1 - Danielle de Niese (Cleopatra), Patricia Bardon (Cornelia), Sarah
Connolly (Giulio Cesare), Angelika Kirchschlager (Sesto), Christophe
Dumaux (Tolomeo), Cristopher Maltman (Achilla), Alexander Ashworth (Curio),
The Glyndenbourne Chorus, Orchestra of the Age of Enlightenment, William
Christie
2 - Roberta Alexander (Cleopatra), Marjana Lipovsek (Cornelia), Ann
Murray (Sesto), Paul Esswood (Giulio Cesare), Arnold Schönberg-Chor,
Concentus Musicus Wien, Nikolaus Harnoncourt
3 - Yvonne Kenny (Cleopatra),
Rosemary Gunn (Cornelia), Elizabeth Campbell (Sesto), Graham Pushee
(Giulio Cesare), Andrew Dalton (Tolomeo), Stephen Bennett (Achilla),
Richard Alexander (Curio), Australian Opera and Ballet Orchestra, Richard
Hickox
4 - Elena de la Merced (Cleopatra),
Ewa Podles (Cornelia), Maité Beaumont (Sesto), Flavio Olivier
(Giulio Cesare), Jordi Domènech (Tolomeo), Oliver Zwarg (Achilla),
David Menéndez (Curio), Orquestra Sinfònica i Cor del
Gran Teatre del Liceu, Michael Hofstetter
5
- Barbara Schlick (Cleopatra), Bernarda Fink (Cornelia), Jennifer Larmore
(Giulio Cesare), Marianne Rørholm (Sesto), Derek Lee Ragin (Tolomeo),
Furio Zanasi (Achilla), Concerto Köln, René Jacobs
6
- Lynne Dawson (Cleopatra), Guillemette Laurens (Cornelia), James Bowman
(Giulio Cesare), Eirian James (Sesto), Dominique Visse (Tolomeo), Nicolas
Rivenq (Achilla), La Grande Écurie et la Chambre du Roy, Jean-Claude
Malgoire
7 - Magdalena Kozena (Cleopatra),
Charlotte Hellekant (Cornelia), Marjana Mijanovic (Giulio Cesare), Anne
Sofie von Otter (Sesto), Bejun Mehta (Tolomeo), Alan Ewing (Achilla),
Les Musiciens du Louvre, Marc Minkowski
The
most famous among Handel’s opera, Giulio Cesare in Egitto was the fifth opera
he premièred at the King’s Theatre (on 20 February 1724) and his biggest
sucess. It was revived in 1725, 1730 and 1732 and was also performed in Hamburg,
Paris and Brunswik. It was also the first opera by Handel to reach the audiences
in the XXth century, having a great variety of recordings in "traditional"
style, such as Rudel’s, Leitner’s and Richter’s.
Handel’s
inspiration was at its best and the opera doesn’t have one weak number. Also,
it is probably the richest orchestrated among Handel’s operas, with French
horns, recorders, flutes, bassoons and lots of doubling effects, including an
off-stage band. It is also notable that the score has a variety of numbers other
than arias, such as duets, small ensembles, choirs, accompanied recitatives. Also,
Handel’s dramatic skills devised a plan where all characters develop during
the opera due to the variety of affetti displayed throughout the opera.
Nicola
Francesco Haym’s libretto also has to do with the success of the opera -
the characters are less one-dimensional than one could expect, especially Cleopatra,
whose multi-layered personality is brilliantly portrayed in her eight arias. As
a matter of fact, one could use the word "Mozartian" to describe the
way each character is differentiated from the other.
The
première had Francesca Cuzzoni as Cleopatra, Margherita Durastanti as Sesto,
Senesino as Cesare, Gaetano Berenstadt as Tolomeo, Anastasia Robinson as Cornelia
e Giuseppe Boschi as Achilla.
René Jacobs’s
was the first recording presenting a complete edition with period instruments
and without resorting to transposition for the parts of Cesar, Sextus
and Ptolemy. It is a recording dear to every Handelian and is a complete
musical success. Jacobs' conducting sees to the minimal details in the
score, the Concerto Köln plays with tremendous gusto and the recording
is natural and pleasing. Moreover, it has a ver strong cast. As a matter
of fact, the singer who deserves a "but" is the one taking
the role of Cleopatra. This is Barbara Schlick’s best recorded
performance. She is wonderfully alive, the voice has an apt brightness
and she has strong technique, but Cleopatra should sound more
seductive than this. This is a problem related to almost every Cleopatra
in the discography. A reviewer used the word "narcisism" -
and maybe that explains well what the role requires. Marianne Rørholm
is a wonderful Sesto, displaying a firm strong voice and her forthrightness
becomes this trouser role. Bernarda Fink brings her usual intensity,
stylishness and loveliness of tone to the role of Cornelia. More than
that: her contralto is here made to sound feminine all the way, which
is welcome in an opera cast with so many high voices. Even in a starry
cast like this, Jennifer Larmore is an amazing presence. First of all,
there is a forceful voice here used with impressive virtuoso-quality
entirely in the service of drama. In the more outspoken numbers, she
constantly amazes with her enormous range, power and accuracy. Also,
she - not for a second - forgets she is performing a male role and this
is in the core of her performance - even her coloratura is made to sound
forceful, sometimes (aptly) to the expense of vocal beauty. In the meditative
numbers, she does not fall in the trap of sounding too vulnerable and
sings both expressively without forgetting to produce a masculine impression.
When there is Derek Lee Ragin, there is controversy. Yes, the vocal
method is bizarre all the way, but he sings with energy and his top
notes are more powerful than the usual countertenor’s. I think
that the role of Ptolomy may work with this kind of vocalism. Finally,
Furio Zanasi is a most accomplished Acchila, singing with Italian naturalness
and producing clean fioriture throughout.
Actually, the introduction
of Giulio Cesare to the world of period instruments was made by Nikolaus
Harnoncourt, whose live performances have been recorded exclusively
in the format of highlights, what is a pity. It is true that the Austrian
conductor's view of this opera is a bit austere, but this CD trasures
delectable performances from Ann Murray, Marjana Lipovsek and, above
all, Roberta Alexander, whose Cleopatra is the lushest and creamiest-toned
in the discography. It is an endearing curiosity that in the finale
ultimo, the prima donna is Lucia Popp, who shared the role with Alexander.
The serious drawback in this performance is, unfortunately, the miscasting
of Paul Esswood in the title role. His counter-tenor is too light and
his coloratura too careful for this role.
Comparing Jacobs to Minkowski
is something like a feast to any Handelian. Jacobs’s has been the
reference recording to this opera for a long time and it is still a
faultless performance, brilliantly conducted, sung and played. However,
I think that Minkowski’s inimitable sense of theatre and the way
he makes his orchestra sing with his singers places on it an extra degree
of interest. More than that: his exciting tempi and rich orchestral
sound make a long opera more seductive to those not yet converted to
this repertoire. Some traditional battle-horses, such as Va tacito,
acquire a particular buoyance, a rhythmic alertness and downright orchestral
excitement that even a veteran Handelian could listen to freshly. Comparison
between Jacobs and Minkowski reveals that the French conductor is consistently
faster, but even when he is not, as in Non è si vago,
his crispier articulation may give this impression. Although she is
not as sexy in tone as I would have liked, Magdalena Kozena is a Cleopatra
of great distinction. I had often read that her tone makes one think
of Lucia Popp and I never agreed with that, but here Kozena often evokes
the great Slovak soprano. She is technically impressive, shows care
with the text and, as Popp, had this je-ne-sais-quoi, a kind of natural
radiating warmth, that always places her in the core of the events.
Anne Sofie von Otter’s voice is no longer as compact as it used
to be and her low register sometimes fail to project as it should, but
she is an imaginative and varied performer and sings with true animation.
Charlotte Hellekant’s fruity mezzo soprano is used expressively
as Cornelia. Marjana Mijanovic’s contralto is extremely natural
in its lowest reaches. Her singing is stylish, sensitive and pleasant,
if not entirely ingratiating. Bejun Mehta’s low register is probably
the richest among countertenors and his tone seems to carry on well
in the hall and he gives a compelling performance. However, I wonder
why the role is almost invariably given to a countertenor - I would
like to see what someone like Claire Brua or Jennifer Lane would do
with it. Alan Ewing is an impressive Achilla, singing with dark bass
resonance.
It may sound tautological
when I say that Malgoire's recording offers a French perspective of
Giulio Cesare, but the truth is that this warmly recorded elegant and
charming performance, in which flowing dance-like rhythms abound, has
more than often a Rameau-like atmosphere. Here you will find the most
animated Priva son d'ogni conforto ever recorded or probably
the most eupeptic Non è si vago and perhaps the most
solemn V'adoro, pupille ever. One may point out that this graceful
approach may get dangerously close to sameness, but it would be unfair
to fault a recording in which the beauty of Handel's writing comes through
in such a striking manner. Malgoire also counts with brilliant casting,
with one notable exception, which unfortunately involves the title role.
James Bowman's English-style angelic countertenor, pleasing as it sounds,
hardly suggest anything regal, heroic or passionate. As a result, Cesare's
arias sound univoque and faceless. As for Lynne Dawson, she finds true
nonchalance even in the most difficult arias, but still lacks the sex
appeal for the part of Cleopatra. Maybe a more luscious low register
would do the trick. Guillemette Laurens is the brighter-toned Cornelia
in the discography, singing with complete stylishness and musicianship,
not to mention that her mezzo-soprano is really beguiling. For a change,
Eirian James' Sesto (beautifully sung too) sounds rather darker than
her mother's, what makes the character more assertive if less boyish
than usual. Dominique Visse's eery sounding countertenor is effective
for the role of Ptolomy, while Nicolas Rivenq's Achilla could do with
less strain.
In what refers to video,
Giulio Cesare has an exotic collection of performances. The performance
from Barcelona displays the dictionary version of what is called "Eurotrash".
Herbert Wernicke's production is helplessly trying to be different,
bothering with the libretto in a dangerous way and making characters
silly - not to mention that his sense of humour is too German to ellicit
the slightest smile. On the other hand, Michael Hofstetter offers a
stylish performance and has a most alert band in the Liceu's orchestra.
I just wonder why he had to agree with the deletion of some famous numbers,
reducing the role of Cleopatra almost to comprimario, while including
arias from Orlando, Tolomeo and Rinaldo, which add nothing to the understanding
of the plot - especially when the cast does not offer anything close
enough to unforgettable so as to compensate us for the loss of something
like Da tempeste. Considering Mr. Wernicke's talents, if I
were the theatre's intendent, I would rather trust Mr. Handel's ideas.
Robbed of the complete set of arias that would enable her to develope
her character as we are used to hear, the bright-toned Elena de la Merced
sounds a bit unidimensional. She is a capable singer and her soprano
is plasing and natural, but her high register may sound metallic and
is not very prone to float a mezza voce (as one would ideally expect
in Se pietà). Although Ewa Podles is an intense and
gifted singer, her whole method sounds too exotic for Handel these days.
The tone has a veiled, slightly unfocused quality which tampers with
legato and clear diction in this repertoire. Flavio Olivier's countertenor
is too timid in the lower reaches and wholly unheroic for the role of
Julius Cesar. He has fluent divisions and a healthy high register and
looks like a believable Roman emperor, but his sound is simply wrong
for this role. As for Jordi Domènech, his voice is so smoky that
we can hardly hear what he is singing when he dives into his low notes.
Both basses are too dry-toned for comfort. Thus, only Maité Beaumont
offers the above-standard singing one expects to find in a venture of
this kind. Her clean, ductile mezzo fills Handelian lines beautifully
and she sounds positive enough for the role of Sesto.
On the other hand, although
the production from the Australian Opera is also stylized and indulges
in some kitsch, it just tries to tell the story. Richard Hickox does
not try to convince the house orchestra to emulate a period instrument
band and offers a rather large-scaled approach to the score which retains,
nonetheless, the necessary level of clarity, despite some tempi that
could be a bit more buoyant. Although Yvonne Kenny no longer displays
the command of high notes and fast divisions she used to have, hers
is still a most charming voice. Also, I am afraid that she looks a bit
veteran for the role of the Egyptian seductress. Graham Pushee is the
best countertenor Cesar in the discography. There is nothing affected
or feminine in his singing and his registers are unusually well-connected.
He tackles his arie di bravura with gusto and sounds sensitive and varied
in his arie d'affetto. A beautiful performance. Cornelia, Sesto and
Achilla are rather functional than exciting.
If you have to see Giulio
Cesare in video you won't be able to do better than getting hold of
William Christie's DVD from Glyndenbourne. Director David McVicar shifts
the action from the Roman to the British Empire and Egypt becomes India
- in a rather Bollywood perspective. Singers are required to dance Broadway-like
while singing their difficult arias - this could have been dangerous,
but this cast can dance and sing very well. I do not want to sound like
a spoil-sport, but all this cute little steps had a distracting effect
on me and in the end I missed a Cleopatra that did not act as if she
was playing Catherine Zeta-Jones's role in Chicago. As a matter of fact,
Danielle de Niese could certainly try her chance on 45th Street - she
is sexy, funny and sings well. However, although I feel compelled to
say "the approach required from her", it seems that her whole
natural approach is a bit superficial. Her Cleopatra sounds, acts, thinks
and breathes soubrettishly in a way that does not go with Handel's idea
of having a prima donna assoluta to sing an aria such as Se pietà.
De Niese does have astonishing coloratura and negotiates well her low
register, but lacks variety (and mezza voce). In the end, it is most
confusing to have a Cesare who sounds lovelier than his Cleopatra. Sarah
Connolly - and this sounds really ungracious - does cut a believable
figure on stage as a man, but the grain of her mezzo soprano is so soft
and velvety and her phrasing so delicate and sensitive that I had to
adjust mentally the fact that she was taking the the primo uomo role.
Because of that, she feels far more at ease in an aria such as Se
in fiorito ameno prato than in Al lampo dell'arme. Angelika
Kirchschlager has a similar problem - she does look convincingly boyish
(although she hams a lot as an actress), but the sound is too feminine
and her natural range is too high for her part. On the other hand, Patricia
Bardon's echt contralto works beautifully for Cornelia, even if having
the darkest voice in the cast may be a bit puzzling. Christophe Dumaux
sings with energy as Tolomeo, and knows how to work his countertenor
through registers break for the right effects. Finally, baritone Cristopher
Maltman is a bit miscast in a bass role. When it comes to William Christie,
I am afraid that finding comfortable tempi throughout the score puts
him in second place to the more varied and bold readings offered by
both Jacobs and Minkowski. This might sound mean - but has Va tacito
e nascosto sounded so dull as in this performance? This is a long
opera with some difficult patches of gloomy music (yes, I am speaking
of Sesto and Cornelia) and it is very important to keep the right level
of energy from beginning to the end. But do not mistake my words - this
is a stylish performance, sensitively conducted and exquisitely played
by the Orchestra of the Age of Enlightenment.
top
~Giustino
1
- Dorothea Röschmann (Arianna), Dawn KKotoski (Anastasio), Jennifer Lane (Leocasta),
Michael Chance (Giustino), Drew Minter (Amanzio), Mark Padmore (Vitaliano), Dean
Ely (Polidarte), Freiburg Baroque Orchestra, Nicholas McGegan
Giustino
was premièred at the Covent Garden in 1737 and was composed at the same
time as Arminio. As much as Arminio is an interesting work, Giustino is the "dominant
twin" here. The animated plot (a bear and a sea monster are killed on stage,
among many other things...) involves the story of Justin, a country boy who, out
of his courageous deeds, gets the money and the girl, I mean, the crown and the
Emperor’s sister, Leocasta. The fascinating feature of this score is its
lightness, timing and charm. The arias are of varied quality, but even the most
serious ones still keep the fresh touch. Also, there is a rich orchestra, with
French horns, trumpets and, most of all, oboes, who play important obligatto and
solo passages. As a matter of fact, this opera abounds in delightful orchestral
and choral passages and deserved to be performed more often than it is.
The
première had most of Handel’s usual Covent Garden stars. As the Empress
Arianna, there was Anna Maria Strada del Pò, the first Ginevra and Alcina;
as Leocasta, the contralto Francesca Bertolli, the first Medoro; as Anastasio,
the soprano castrato Giziello, the first Meleagro (Atalanta), Sigismondo (Arminio)
and Alessandro (Berenice); as Fortuna, the boy soprano William Salvage, the first
Oberto in Alcina, Childerico in Faramondo, Imeneo and Fenice in Deidamia; as Giustino,
the castrato Domenico Annibali, the first Arminio and Demetrio (Berenice); as
Amanzio, Maria Caterina Negri, a long-time regular in Handel productions, the
first Carilda (Arianna in Creta), Polinesso, Bradamante, Irene (Atalanta), Tullio
(Arminio) and Arsace (Berenice); as Vitaliano, John Beard, the first Lucanio (Ariodante),
Oronte (Alcina), Aminta (Atalanta), Varo (Arminio) and Fabio (Berenice); and,
as Polidarte, Henry Theodore Reinhold, the first Mercurio (Atalanta), Segeste
(Arminio), Aristobolo (Berenice), Argenio (Imeneo) and Lycomede (Deidamia),
The
lightness in the score becomes McGegan’s own style and the performance, beautifully
played and recorded, couldn’t be more pleasant. Some might say he could inject
more boldness in the proceedings, but I think McGegan has a point in making the
whole thing through a pantomime point-of-view. He has a strong cast too. Dorothea
Röschmann brings lots of temper, vivid declamation and a warm bright tone
to this role meant for Anna Maria Strada del Pò. She should try Alcina
too. The high castrato role is always hard to cast, but Dawn Kotoski seems a good
idea. Her forceful slightly edgy soprano brings some energy to her role and she
is a resourceful performer too. Jennifer Lane brings her seductive voice and sophisticated
interpretation to the role of Leocadia, smoothly sung throughout. In McGegan’s
approach, Michael Chance is highly satisfying as Giustino. His countertenor is
in wonderful shape here, sung with natural brightness and ease throughout the
range and the tone is positivee and pleasing enough. He is also very inspired
and manages to be convincing either in his meditative or heroic arias. The same
cannot be said of Drew Minter, who should be the bad guy of the story, but his
voice is too shallow for this role who was first intended to a bass and then to
a true contralto. Mark Padmore is in firmvoice and sings with true verve as Vitaliano
and Dean Ely is a stylish and accomplished Polidarte.
top
~Hercules
1
- Jennifer Smith (Iole), Sarah Walker (Dejaanira), Anthony Rolfe-Johnson (Hyllus),
John Tomlinson (Hercules), English Baroque Soloists, John Elliot Gardiner
top
~Imeneo
1
- Julianne Baird (Rosmene), Beverly Hoch (CClomiri), D’Anna Fortunato (Tirinto),
John Ostendroff (Imeneo), Jan Opalach (Argenio), Brewer Chamber Orchestra, Rudolph
Palmer
2 - Johanna Stojkovic
(Rosmene), Siri Karoline Thornhill (Clomiri), Ann Hallenberg (Tirinto), Kay Stiefermann
(Imeneo), Locky Chung (Argenio), Vokal Ensemble Köln, Capella Augustina,
Andreas Spering
After a relatively unsuccessful experience at the
Covent Garden, where the competition with the King's Theatre proved to be very
hard, Handel had tried to restore his bonds with the old opera house where he
has started his operatic careen in London (in the days when it used to be the
Queen's Theatre) in vain. He finally preferred to try his luck in the small and
unglamorous theatre at Lincoln's Inn Fields (where Gay's The Beggar's Opera had
been first performed). Because of the house's poor infra-structure, Handel had
to adapt his powers to the means available. The result is felt in his penultimate
opera, Imeneo. The whole action takes place in one scenery, the plot is very simple
- a princess has to choose between her resccuer and her former fiancé, finally
deciding for the former, who would eventually be identified as the god of marriage
(Hymen=Imeneo), the orchestra comprehends only strings and oboes and the arias
are usually simple and immediately tuneful. However, there is a real chorus here,
the advantage of which in act I is disputable since it sings the same choir thrice…
The qualities of Handel's "cleaner" style are a certain dramatic fluency (the
abundance of ariosos and the short recitatives are the most evident examples of
that) and a rather detached approach with more than a touch of humour. Although
the opera sounds smooth and congenial, it had a difficult birth process, taking
almost two years to be finally staged - after many adaptation to accommodate changes
in the cast. The attentive listener will notice two familiar arias lent to Messiah,
who would follow this work a couple of years later. Actually, Imeneo was performed
only twice in 1740 and then given in a concert performance in Dublin in 1942 (around
the time of the première of Handel's most famous oratorio), when a tenor took
the title role.
Imeneo was introduced to the recording studio in 1986 by
Rudolf Palmer conducting a period-instrument orchestra. The results, however,
are dubious even compared to those days' standards, if one has in mind Gardiner's
or Hogwood's contemporary recordings. As it is, the orchestra is a bit heavy,
tempi tend to sag, a far from euphonious harpsichord is all over the place and
there is an excess of liberties took with the score. The cast, however, is mostly
admirable, though. Taking La Francesina's role, the radiant Julianne Baird offers
a charming and technically immaculate performance. The same, unfortunately, cannot
be said of Beverly Hoch's Clomiri, whose fast-vibrato-ish and rather edgy soprano
sounds a bit old-fashioned. Luckily, it is a secondary part, written for a certain
Miss Edwards, who was an inexperienced singer. Taking the castrato Andreoni part,
D'Anna Fortunato displays a rich-toned contralto which fills Handel line with
sensitivity and imagination. The first Imeneo was William Savage, who had sung
the boy soprano part in Handel's Alcina some years before. Although John Ostendorf's
bass is flexible enough, the avuncular quality of his unfocused and woolly tone
does not measure to the reputation of the first exponent of this role. Finally,
Jan Opalach is an efficient Argenio.
Andreas Spering's recording from Köln
is the answer to those who would like to sample this charming work from Handel's
final stage as an opera composer. Although his fast tempi are most welcome, some
arie d'affetto needed a bit more time to blossom. The orchestral sound and warm
recording certainly help to give atmosphere to this rather gentler work. In the
prima donna role, Johanna Stojkovic's creamy soprano and adept technique are certainly
impressive, although she misses some of the loveliness of Julianne Baird (who
is also more adventurous with embellishment). However, Siri Thornhill's pleasing
and clear is worlds beyond Beverly Hoch. When it comes to Ann Hallenberg, one
must certainly cherish her firm clean high mezzo, but comparisons expose that
D'Anna Fortunato's warmer tone is more appropriate for a castrato role - and she
also sang with more affection and variety. Kay Stiefermann's bass-baritone is
youthful and virile and he displays such sense of humour and congeniality that
it is easier to understand Rosmene's final choice for Imeneo. Locky Chung's deeper
bass is well contrasted to Stifermann's - and his tone-colouring and verbal pointing
are indeed admirable.
top
~Lotario
1
- Simone Kermes (Adelaide), Sonia Prina (Matilde), Sara Mingardo (Lotario),
Hilary Summers (Idelberto), Steve Davislim (Berengario), Vito Priante
(Clodomiro), Il Complesso Barocco, Alan Curtis
2
- Nuria Rial (Adelaide), Annette Markert (Matilde), Lawrence Zazzo (Lotario),
Andreas Karasiak (Berengario), Huub Blaessens (Clodomiro), Kammerorchester
Basel Barock, Paul Goodwin
~Orlando
1
- Arleen Augér (Angelica), Emma Kirkkby (Dorinda), Catherine Robbin (Medoro),
James Bowman (Orlando), David Thomas (Zoroastro), Academy of Ancient Music, Cristopher
Hogwood
2 - Rosemary Joshua (Angelica),
Rosa Manion (Dorinda), Hillary Summers (Medoro), Patricia Bardon (Orlando),
Harry van der Kamp (Zoroastro), Les Arts Florissants, William Christie
3 - Matina Janková
(Angelica), Christina Clark (Dorinda), Katharina Peetz (Medoro), Marijana
Mijanovic (Orlando), Konstantin Wolff (Zoroastro), Orchestra "La
Scintilla" der Oper Zürich, William Christie
Premièred
on January 27th 1733 at the King's Theatre, Orlando performed an important part
in the crisis that led Handel to part with his old patrons and form a new company
at the Covent Garden theatre. Because of its ambiguous nature and unconventional
features, such as a large amount of cavatine, accompagnati and a leading role
who only sings three arie da capo, not to mention the famous mad scene with many
tempo and affetto shifts, it is said that both the audience and the primo uomo
(who finished by resigning from the company) were puzzled by it - a fact used
against Handel by his detractors, including the Prince of Wales. As it is, Orlando
is one of Handel's masterpieces, a daring work which is heroic, elegiac and entertaining
at the same time. It also features one of Handel's most exquisite numbers, the
trio Consolati o bella. Although the prima donna role is Angelica, taken in the
premiere by Anna Strada del Pò, that of the shepherdess Dorinda is actually
more demanding and has the same level of importance. It was sung by Celeste Gismondi
in the opening season and it is said that her particular skills took Handel to
add a serious touch to a role which would traditionally by a comic one. A specialist
in male roles, the contralto Francesca Bertolli took the role of Medoro. Also,
the role of Zoroastro was created to suit the powerful and flexible voice of the
bass Antonio Montagnana. Finally, the famous castrato Senesino took the controversial
part of Orlando, portrayed in this opera rather as an anti-hero in delusional
mood because of frustrated love.
It seems that Christopher
Hogwood opted for a farsical approach when he recorded this opera for
Oiseau-Lyre. His tempi are fast, the phrasing sprightly and clear and
the atmosphere light-hearted. As Angelica and Dorinda, both Arleen Augér
and Emma Kirkby display absolutely pure tone and flexibility while retaining
their immediately recognisable tonal quality. It is also true that both
operate with a narrow tonal palette. Catherine Robbin and David Thomas
are both reliable in their parts. Only James Bowman sounds helplessly
small-scaled and unheroic in the title role.
On the other hand, William
Christie sees Orlando as a more serious piece and invests it with rich
orchestral sound and expressive phrasing. The famous trio Consolati
o bella, for example, sounds pleasing in a semiserio manner for
Hogwood, while Christie makes it a truly emotional musical experience.
This is true of all the numbers where the affetto is gentler, in which
Christie often opts for slower pace and fuller string sonorities. The
recorded sound itself, warm and natural, is a clear asset. The cast
shares the same wide-ranging view of the conductor. Both sopranos are
creamier toned and more expressive than her rivals for Hogwood, if less
contrasted between them. As Angelica, Rosemary Joshua features a soaring
voice that floats above the staff in a most appealing manner. Rosa Mannion's
performance as Dorinda is sensational. Her beautiful rich flexible soprano
tackles the technical difficulties of her role without a hint of effort
and her musicianship, sensitivity and good taste are admirable - her
trills too. Hillary Summers is a velvety-toned Medoro, singing her lines
with complete stylishness and affection. As Orlando, the pitch-dark-toned
contralto Patricia Bardon displays a vivid dramatic temper and the necessary
heroic tone. Harry van der Kamp, in one of his best recordings, offers
a virtuosistic performance as Zoroastro, rounding off one of the best
casts in a Handel opera recording. Highly recommended.
William Christie makes a
second visit to the furious hero Orlando at the Zürich Opera, where
a video has been recorded. The conductor's broadly expressive view is
here even more theatrical - one just needs to sample the descriptive
orchestral effects in the Mad Scene to notice that. The house's period-instrument
band, the Orchestra La Scintilla, stands the competition with Christie's
own Les Arts Florissants and offers an exemplary performance. Director
Jens-Daniel Herzog goes for the predictable mental institution-concept
(with Dorinda as a nurse, you have probably already seen that too),
but never lets his audience down in his intelligent recreation of the
libretto, creative stage direction and exquisite settings (by Mathis
Neidhardt). He also benefits from the excellent acting from his talented
cast. Martina Janková relishes the coquettish approach to her
Angelica and never fails to beguile the ears with her silvery flexible
soprano. The fruity-toned Christina Clark is a lovely Dorinda, balancing
the soubrettish and the lyric aspects of her part with complete success.
The young German bass-baritone Konstantin Wolff has a firm, dark voice
and strong technique. It is a pity that both contraltos do not reach
the paramount levels of the other singers. Katharina Peetz has poor
legato, sketchy Italian and lacks the mellifluous tonal quality the
irresistible Medoro ought to have. Marijana Mijanovic's fat low register
is a marvel in itself, but her singing comes through as basically clumsy
- sustained notes are effortful, her coloratura is laboured and the
sense of pitch leaves a lot to be desired. She produces all right the
required heroic impression, but one is constantly reminded of how difficult
the role is. The edition is complete with the exception of the occasional
loss of the B section of a couple of arias.
top
~Ottone,
Rè di Germania
1
- Claron McFadden (Teofane), Jennifer Smithh (Gismonda), Catherine Denley (Matilda),
James Bowman (Ottone), Dominique Visse (Adelberto), Michael George (Emireno),
King’s Consort, Robert King
2 - Lisa Saffer (Teofane),
Juliana Gondek (Gismonda), Patricia Spence (Matilda), Drew Minter (Ottone),
Ralf Popken (Adelberto), Michael Dean (Emireno), Freiburg Baroque Orchestra,
Nicholas McGegan
Composed in 1722, Ottone was
premièred at the King’s Theatre in 1723, marking Francesca Cuzzoni’s
debut in London as Teofane. Margherita Durastanti sang the role of Gismonda, Anastasia
Ronsinson took the part of Matilda, Senesino was Ottone, Gaetano Berenstadt was
Adelberto and Giuseppe Boschi completed the cast as Emireno. The famous episode
when Handel threatened to throw Cuzzoni from the window is related to the rehearsals
of Ottone. The Italian diva was not satisfied with the melancholic atmosphere
of her arias and said she would not sing her entrance number Falsa immagine. Later,
Handel would compose more sparkling arias to match Cuzzoni’s nature. Also,
Anastasia Robinson thought her character was too scolding - and Handel provided
her with some arie d’affetto. In fact, both ladies are not entirely wrong.
The libretto is completely nonsensical and characters tend to be monomaniac. However,
Handel was inspired and, especially in act II, there is a string of beautiful
arias and also two memorable duets. It must be said, though, that it is one of
Handel’s less flamboyant operas, with very few opportunities for coloratura
display and the orchestration is quite economical too. One could point out that
the overall mood is too pensive and gentle, but that did not prevent this work
from being one of Handel’s great successes. The opera was revived several
times during Handel’s life and he produced some new arias or adapted some
roles to fit particular singers later.
McGegan admirably captured the atmosphere
of the work, offering a charming and sensitive performance. As most arias are
arie d’affetto, his gentleness and warmth are most welcome. The Freiburg
Barockorchester is in great shape and the recorded sound is natural and vivid.
In the Cuzzoni role, Lisa Saffer is tender enough, but her voice is not as sweet
as usual, sounding a bit edgy in her top notes. On the other hand, Juliana Gondek
is splendid in the role of the mother that came for no good. She is in full control
of her resources and offers a truly dramatic temper. Her ease with low tessitura
is also refreshing. Patricia Spence is also praiseworthy in the role of Matilda,
with her full toned flexible contralto and imaginative phrasing. The problem about
her performance is that it exposes the problems of the two other altos in the
recording. In the title role, Drew Minter is past his prime, offering very little
tone and has really limited space to sing. Next to any of his female colleagues,
he simply disappears. Ralk Popken’s voice is far fresher (and richer) than
his, but it is still too palid to produce the right effect. Both singers are stylish
and musicianly, but those roles demand more vocal charisma. Finally, Michael Dean
is a rich-toned Emireno.
top
~Partenope
1
- Rosemary Joshua (Partenope), Hilary Summeers (Rosmira), Lawrence Zazzo (Arsace),
Stephen Wallace (Armindo), Kurt Streit (Emilio), Andrew Foster-Williams (Ormonte),
Early Opera Company, Christian Curnyn
2
- Krisztina Laki (Partenope), Helga Mü;ller-Mollinari (Rosmira), René
Jacobs (Arsace), John York Skinner (Armindo), Martyn Hill (Emilio), Stephen Varcoe
(Ormonte), La Petite Bande, René Jacobs
3
- Meredith Hall (Partenope), Annettee Markert (Rosmira), Kai Wessel (Arsace),
Chris Josey (Armindo), John McVeigh (Emilio), William Beyer (Ormonte), Philharmonia
Baroque Orchestra, Nicholas McGegan
Partenope
was premiered in the King’s Theatre in 1730. Handel’s Academy of Music
was in serious crisis: the prime donne Cuzzoni and Bordoni, after their scandalous
fight on stage in front of a member of the royal family, had left England together
with the castrato Senesino and Italian style of opera was being the target of
satire, in Gay’s The Beggar’s Opera. Therefore, Handel decided to go
to Italy to look for new stars for his company. There he discovered some new fashions
in operatic writing, such as simpler melodies more in the popular taste. Determined
to regain his audiences, Handel was sensitive to what he saw in Italy and to English
audiences on composing Partenope. Even so, the opera was not a sucess.
It
is a pleasing opera, but the fact is that it lacks some grandeur. Most arias are
indeed song-like melodies very discretely accompanied by the orchestra. When Handel
lets all his powers to go unleashed, it works in the usual amazing way, such as
in Arsace’s aria Sento Amor and Partenope’s Io ti levo l’impero
dell’armi. However, the most striking innovation in Partenope is that many
"recitatives" are treated in melodic way, in the way one would expect
to find in Italian Romantic opera. It always works wonderfully when he does that,
such as in the exquisite almost-duet between Partenope and Arsace "Per te
moro" suddenly interrupted by the arrival of Rosmira.
As a matter of fact, the
libretto, although almost devoid of a plot, has nice dialogues and dramatic
situations and Handel dealt with them with mastery of timing. However,
in an opera where the arias are sometimes less interesting than the
recitatives, a cast of singers skilled in Italian is fundamental - and
that is not the case in Kuijken’s recording, with the exception
of Helga Müller-Molinari. Although she is not a native speaker,
she clearly knows which is the right inflection for each word. Thus,
her scenes are always the most interesting in this recording. Moreover,
she is in charming voice and very cunningly makes clear when she is
Rosmira the maid and when she is Rosmira disguised as a guy. Krisztina
Laki is a most pleasing soprano - more than once her fast-vibrato-ish
crystalline voice made me think of Gundula Janowitz. However, I think
that this is exactly the problem of her Partenope. When you have almost
every other character in the opera desperately in love with her, you
cannot help thinking that she should sound more seductive or alluring.
Anyway, Laki’s voice is very beautiful and she sings with musicianship.
Again, I wish she sounded happier with her coloratura. Martyn Hill’s
voice is also devoid of sensuality as Emilio, but he is able to show
himself as a believable king and warrior due to the consistence of his
low register (in fact, sometimes he sounds richer than the "bass"
here, Stephen Varcoe) and energy to produce coloratura. The casting
of countertenors here bothered me. The character of Arsace says things
such as "God, help me to make my mind about which one of my pretty
lovers I should keep" - and René Jacobs’ affected singing
here simply never illustrates what a cad he is. I know that it is not
historically correct to expect that Handel should have casted the part
with a bass, but I think that a contralto like Carolyne Watkinson would
make a more believable... "macho" than almost every countertenor
- weird as it sounds. John York adopts a more sober style, but his voice
is rather pale, even if he sings with good taste. The part was originally
cast with a contralto, but Kuijken defends that Handel only did it because
there was no castrato available. I am convinced that Kuijken should
have followed Handel’s example of policy in case of absence of
castrati.
In his live recording, McGegan gives new life to Partenope. In his
hands, the work sounds its most animated and appealing. Not only the
recitatives are vividly done, but faster numbers have the necessary
zest, while the slower ones are given complete charm, especially provided
by the Philharmonia Baroque Orchestra, offering rich sounds throughout.
Comparisons with Kuijken are favourable to McGegan. While Kuijken presents
Partenope as an oratorio, the British conductor goes for a theatrical
performance which never lets down, outstandingly in its orchestral passages,
presented with immense vitality. It must be said that McGegan’s
latest recordings display an extra élan that couldn’t be
more welcome. His cast is also preferable to Kuijken’s in a general
way. Meredith Hall was, at least for me, a pleasant surprise. Even if
some of her singing may sound pinched, her naturally exquisite voice,
flexibility and sex-appeal are irresistible. Although Annette Markert’s
performance is less impressive than Helga Müller-Mollinari’s,
she is still a true find - a flexible contralto with plenty of energy.
Kai Wessel’s voice has become richer and his interpretation skills
are more varied now, but the role of Arsace still needs more flamboyance.
In the less demanding role of Armindo, Chris Josey is pleasing enough.
John McVeigh’s bright-toned tenor is certainly welcome, but his
voice has its ugly moments in passagework. William Beyer’s voice
is on the high side for the role of Ormonte. The recording is natural
and spacious. There are stage noises, but that doesn’t disturb
me. I was going to write that the audience expresses its satisfaction
too often, but I guess that I would do the same if I was there... Finally,
it must be noted that one aria has been cut and some recitatives trimmed.
Compared to McGegan's theatrical experience, Christian Curnyn's conducting
cannot help seeming too well-behaved for the circumstances. The orchestral
sound is beautiful, warm and polished, but the performance sails along
with self-indulgent comfort. This is particularly harmful in the battle
scenes, right when McGegan offers plenty of zest and excitement. That
said, this sumptuously cast recording may convert a less adventurous
Handelian to this light and charming work. In the title role, Rosemary
Joshua's shimmering creamy soprano is disarming. Hilary Summers' gentle
velvety contralto is also entirely fit for the role of Rosmira. Both
countertenors here eschew all criticism -Lawrence Zazzo and Stephen
Wallace are rich-toned and display healthy low registers. Zazzo also
dispatch his divisions with the necessary aplomb, such as in the showpiece
Furibondo spira il vento. Kurt Streit is one of the rare first-league
tenors to venture in this repertoire. His handsome firm tenor produces
a flashing impression, even if the faster passagework may sound a tad
mechanical. Finally, Andrew Foster-Williams is a forceful and accurate
Ormonte.
top
~Il
pastor fido
1 - Katalin
Farkas (Amarilli), Márta Lukin (Dorinda), Mária Flohr (Eurilla),
Paul Esswood (Mirtillo), Gábor Kállay (Silvio), Jószef Gregor
(Tirenio), Capella Savaria, Nicholas McGegan
top
~Poro,
Rè dell’Indie
1
- Rossana Bertini (Cleofide), Gloria Bandittelli (Poro), Bernarda Fink (Erissena),
Gérard Lesne (Gandarte), Sandro Naglia (Alessandro), Roberto Abbondanza
(Timagene), Europa Galante, Fabio Biondi
Premièred
at the King's Theatre on February 2nd 1730, Poro was a complete success due to
the exuberance of its setting (a libretto by Metastasio) and sceneries. Although
Handel's invention was not at its best, the score is richly orchestrated (it is
said that the original orchestra had almost 40 members), with many examples of
virtuosistic obligatto playing and exciting intermezzi to depict battle scenes.
Particularly interesting is the Act I duet in which King Poro and Queen Cleofide
mock each other's previous arias. Handel also counted with a distinguished cast:
Anna Maria del Pò as Cleofide, Senesino as Poro, Francisca Bertoli as Gandarte,
the dark-voiced Margherita Merighi as Erissena ans Giovanni Commano as Timagene.
It is worthy of mention the fact that the part of Alexander, the Great, has been
given to tenor Annibale Fabri, whose outstanding artistry guaranteed prominent
parts in a time where castrati used to take them.
If Fabio Biondi
does not really give dramatic quality to a rather bloodless opera, he does conduct
it with charm and ellegance. The Europa Galante's instrumentalists play with energy
and the recorded sound is warm and natural. Although the cast is distinguished,
one still misses the last ounce of exuberance in order to make it work. As it
is, the most successful soloist is Bernarda Fink, who brings every little note
of her part into life. One could point out that maybe her energetic approach only
exposes the placid temper of the singers taking the male alto roles, but it would
be excessive to blame Fink for her ingenious use of registers, rhythmically alert
phrasing and natural charisma. Thank God the most beautiful aria in the score
(Son confusa pastorella) is sung by her. In spite of her warm velvety charming
voice, Gloria Banditelli sounds a bit bland as Poro, more so when her low register
lacks projection. Rossana Bertini's bright slightly vinegary soprano is miscast
in a part written for Anna Maria del Pò. Is this the voice of an Alcina?
As a result, the part lacks allure, even if she seems to be quite at ease with
what she has to sing. Of course, it is a pleasure to listen to recitativi sung
by Italian singers such as Banditelli and Bertini, but sometimes their use of
under the note colouring for effects makes me think rather of Cenerentola's stepsisters
rather than a royal couple in a Handel opera. Gérard Lesne sings the part
of Gandarte with good taste and musicianship, but he sounds a bit out of sorts
compared to the richer-voiced female altos who sing in this recording. Considering
that the role was first sung by a contralto, I believe that Biondi should have
cast it likewise. In the difficult part of Alessandro, Sandro Naglia's Don Curzio-like
tenor sounds rather miscast - both the lower tessitura and the coloratura seem
to be outside his capabilities. Roberto Abbondanza is a satisfying Timagene, offering
a rich pleasant bass.
top
~Radamisto
1
- Juliana Gondek (Zenobia), Lisa Saffer (Poolissena), Dana Hanchard (Tigrane),
Monika Frimmer (Traarte), Ralf Popken (Radamisto), Michael Dean (Tiridate), Nicolas
Cavallier (Farasmane), Freiburger Barockorchester, Nicholas McGegan
The
first opera composed by Handel to the Royal Academy of Music, Radamisto was premièred
at the King’s Theatre on April 27th 1720. Because of its sucesss (even the
king and the prince of Wales attended the première), the opera would be
staged in following years and suffered many alterations to accomodate the famous
singers who joined the company later. The conductor of the only recording available,
Nicholas McGegan is an advocate of the second version (made for the performances
of December 1720), where Senesino took the title role, Durastanti sang Zenobia,
Salvai was Polissena and the parts of Tigrane, Traarte and Tiridate were given
to the castrato Berselli, Caterina Galerati and Boschi. The first version had
Durastanti as Radamisto and Galerati as Tigrane, while Zenobia was sung by the
contralto Anastasia Robinson and Tiridate by the tenor Alexander Gordon. Other
versions would propose yet other changes of voice for some roles.
An ambitious
work (stravaganza is the word that comes to my mind), Radamisto has many
traits of Handel’s creativity. The work is richly orchestrated, with oboes,
bassoons, flutes, horns and trumpets, and has imaginative orchestral accompaniment
throughout. Beside two duets for the prima donna and the primo uomo, the work
has a quartett and a finale in the form of a vaudeville. It is also remarkable
that the role of Zenobia is probably the most demanding in the opera, offering
a wide range of affetti, sometimes in the same aria (especially in the highly
theatrical cavatina Empio, perverso cor!). The score also presents some numbers
of outstanding beauty, such as Radamisto’s Ombra cara and Qual nave smarrita
and Zenobia’s Quando mai, spietata sorte.
The only drawback of this
interesting work is its length and maybe the libretto is to blame. A reduction
of a 5-act Italian libretto with a very complicated plot, Radamisto is a story
of a rogue king of Armenia (!), Tiridate, who invades Thrace just because he is
in love with the wife of Prince Radamisto (who is also his brother-in-law). Lots
of character pretend lots of things, such as that they are dead, or they think
they are dead, but they survive and other intrincacies. In the end, Armenia is
taken by the good guys, who are so nice that the idea of "nation building"
they use there is teaching the tyrant that love, honour and virtue are important
things. As a result, there are long chunks of recitative and sometimes too many
arias where one or two would do.
Because of the structural problems presented
above, Radamisto needs a high-voltage theatrical performance to work. Although
McGegan and the Freiburgers offer elegant rich sonorities, the overall atmosphere
is too melancholic for the surroundings. The arie d’affetto lack some pathos
and the brilliant numbers are a bit too well-behaved. It is still a good opportunity
to discover an important work in a stylish and sensitive performance, though.
In fact, McGegan gathered an impressive cast here. In the difficult role of Zenobia,
Juliana Gondek is truly impressive - an artist completely in control of her technical
and expressive resources. Although she is not as charismatic as Gondek, Dana Hanchard
offers an outstanding performance as Tigrane. I believe no other singer has ever
been so convincing in a soprano castrato part. Not only her tone is androgynous,
with a velvety mezzo-like low register and truly rich top notes entirely homogenous
throughout its range, but also she phrases with utmost musicianship and sense
of style. In the breeches role of Traarte, Monika Frimmer’s boyish soprano
offers clean coloratura and some energy. Not in her sweetest voice, Lisa Saffer
is still a stylish charming Polissena. Michael Dean and Nicolas Cavallier are
both effective in the bass roles and their voices are contrasted enough. Although
he has energy, reasonable coloratura and a good top register, Ralf Popken is simply
not convincing the role of Radamisto. The voice is not particularly beautiful,
is short on legato and not entirely comfortable in its low notes. I don’t
want to sound repetitive, but you only need to listen to Ombra cara sung by someone
like Nathalie Stutzmann to see what is missing here.
top
~Riccardo
Primo
1 - Sandrine Piau
(Costanza), Claire Brua (Pulcheria), Sara Mingardo (Riccardo), Pascal Bartin (Oronte),
Olivier Lallouette (Berardo), Roberto Scaltriti (Isacio), Les Talents Lyriques,
Cristophe Rousset
The
eleventh opera composed for the Royal Academy of Music, Riccardo Primo was premièred
at the King’s Theatre on 11 November 1727. The cast had Cuzzoni as Costanza,
Bordoni as Pulcheria, Senesino as Riccardo, the castrato Baldi as Oronte and the
basses Boschi and Palmerini as Isacio and Berardo. It had considerable success
(a run of eleven performances), but, after some performances in German some years
later, it would remain unperformed until 1964.
The plot relates an
event in England history - the conquest of Cyprus by Richard Coeur-de-Lion and
his marriage to the princess of Navarre. In order to illustrate that animated
story, involving ships, battles, disguisement and attempted suicide, Handel weaved
one of his most sophisticated scores from the orchestral point of view, using
woodwind (including a sopranino recorder) and brass. He was also in inspired melodic
mood and there are catchy tunes in plenty. It is particularly remarkable that
Handel succeded here in offering arie di bravura which are often very noble and
expressive, especially the ones meant to Senesino. The two prima donna parts are
also contrasted - Bordoni getting major keyed showy arias and Cuzzoni minor key
melancholic ones. Also, act 3 has unusual consistence, with many recitativi accompagnati
and ariosi between arias.
Cristophe Rousset’s recording is an exemplary
performance of a neglected jewel. His reading is natural and clear and the noble
atmosphere of the work becomingly receives warm smooth orchestral sound from the
euphonious Talents Lyriques. In the Cuzzoni role, Sandrine Piau is loveliness
itself, with her flexible creamy soprano that takes readily to high floating pianissimi.
In the Bordoni role, Claire Brua is a mezzo soprano with outstanding technique,
range, power and charisma. However, not only does her Pulcheria sound more formidable
than provocative, but also she outshines all the other altos in that recording,
especially Pascal Bertin’s smooth and pleasant countertenor, who sounds delicate
in comparison. Although Sara Mingardo is a delight to the ears in the Senesino
role, with her flexible and noble contralto, her tone is ultimately more feminine
and her temper more discrete than Brua’s. Both basses are good and contrasted,
with Lalouette distinctively more spontaneous than the sporadically tense Scaltriti.
top
~Rinaldo
1
- Noëmi Nadelmann (Armida), Deborah Yoork (Almirena), David Daniels (Rinaldo),
David Walker (Goffredo), Egils Silins (Argante), Bavarian State Opera, Harry Bickett
2
- Christine Weidinger (Armida), Cecilia Gassdia (Almirena), Marilyn Horne (Rinaldo),
Ernesto Palacio (Goffredo), Natale de Carolis (Argante), La Fenice, John Fisher
3 - Jeannette Scovotti (Armida),
Ileana Cotrubas (Almirena), Carolyne Watkinson (Rinaldo), Paul Esswood
(Goffredo), Charles Brett (Eustazio), Ulrich Cold (Argante), La Grande
Écurie et la Chambre du Roy, Jean-Claude Malgoire
4
- Luba Orgonasova (Armida), Cecilia Bartolii (Almirena), David Daniels (Rinaldo),
Bernarda Fink (Goffredo), Daniel Taylor (Eustazio), Gerald Finley (Argante), Academy
of Ancient Music, Cristopher Hogwood
5
- Inga Kalnar (Armida), Miah Persson (Almirrena), Vivica Genaux (Rinaldo), Lawrence
Zazzo (Goffredo), Cristophe Dumaux (Eustazio), James Rutherford (Argante), Freiburger
Barockorchester, René Jacobs
Rinaldo was the first opera
Handel composed to London and was premiered in the Queen’s Theatre
(later to be the King’s Theatre) in 1711. The whole idea was to
dazzle Londoners with the exuberance of Italian opera. Therefore, Handel
played all his trumps - including using material previously used in
other works, such as Sibilar gli angui d’Aletto (from Aci, Galatea
e Polifemo) and Lascia ch’io pianga (from Il trionfo del tempo
e del disinganno). Also, all sort of special effects were to be included
- scenic and musical. For instance, the orchestra is very colourful,
including a group of recorders to suggest the birds in Alminera’s
Augeletti and a virtuoso harpsichord obligatto part (played by Handel
himself) in Armida’s Vo’ far’ guerra.
The
truth is that Rinaldo is more a brilliant opera than a moving one. Although the
big hits are two laments - Almirena’s Lascia ch’io pianga and Rinaldo’s
Cara Sposa - the piece abounds in martial affetti with lots of trumpet/drum numbers
and arie di bravura, such as the rightly famous Venti turbini. The role of Rinaldo
was written for the castrato Nicolini, but Goffredo was sung by the contralto
Francesca Vanini-Boschi. The role of the sorceress (Handel’s "favourite"
archetype) Armida was given to Elisabetta Pilotti-Schiavonnetti and Isabella Girardeau
was the first Almirena. The writing for the sopranos is very creative. We have
the sorceress presented in a very seductive fashion, since she sings such charming
arias such as Molto voglio and Ah, crudel. On the other hand, Almirena has far
more than sweet arias and developes real animation singing such arie di bravura
such as Combatti da forte.
The
Malgoire recording is a very charming one. Instead of insisting on the natural
brilliance of the score, the French conductor preferred a more relaxed and dance-like
approach, which does help to make the opera less univoque. The orchestra has rough
edges sometimes, but the recorded sound, even if a bit reverberant, is still clear
and warm. Jeanette Scovotti is an efficient Armida, but, even if she tries to
compensate the lightness of the tone by incisive attack, it still lacks some allure.
On the other hand, Ileana Cotrubas is charming and expressive as Almirena. I wish
she had a bit more mezza voce for Lascia ch’io pianga, though. Carolyne Watkinson,
however, takes the centre of interest in the cast. This most admirable contralto
is uniquely satisfying in these heroic roles, because of her solid low notes and
dark tone. Paul Esswood is a nice unpretentious Goffredo and Ulrik Cold is a decent
Argante.
The all-star Decca recording
has Hogwood trying again to prove he can conduct opera. Contrary to
the Malgoire, the idea was to make this the most exciting they could.
It certainly is better than Hogwood’s usual blandness, but this
leads to a certain previsibility - everything is going to be fast, incisive
and urgent. This may be seen as a valid view, but ends on being monotone.
The more modest Malgoire is, musically, more pleasing. The recorded
sound is excellent, but I think that the tempest machines from Drottningholm
were too closely recorded. Luba Orgonasova is a reliable Armida, singing
with rich flexible tone and her Italian is here improved. Although Cecilia
Bartoli is already in her freakish days, she sings beautifully her two
lyric arias, Lascia ch’io pianga and Augeletti. In the rest, she
sounds weird and offers gargling coloratura. Her Combatti da forte is
even rough. Just compare her with Ileana Cotrubas and you’ll discover
why Carolyne Watkinson’s Rinaldo goes to battle with more animation
than David Daniels’. I don’t mean that David Daniels is not
admirable in the title role. He is - few countertenors could rival him
in coloratura and richness of tone. But almost every contralto could.
In plain English, Carolyne Watkinson definitely sounds more like a guy
than he does. Since Rinaldo is supposed to be a brave warrior, I think
that sounding virile is definitely important. Bernarda Fink’s mezzo
is an asset as Goffredo - her coloratura is clean, the tone is pleasing
and she sings her lyric aria with utmost beauty. The problem is that,
playing the part of Bartoli’s _father_, she sounds definitely more
charming than _his_ daughter. I must say that Gerald Finley is, in my
opinion, the most impressive member of the cast, though. Not only his
voice is impressively agile, but he also sings his coloratura with such
panache that one feels like jumping from the chair and applauding. He
also makes the best of recitatives and sings Vieni, o cara with ardour
and beautiful mezza voce. The secondary roles are splendidly taken.
René Jacobs’ Rinaldo is a highly theatrical performance,
in which embellishment, continuo and phrasing are used to highlight
dramatic features. However, there is a preference for more transparent
sounds and the orchestra sounds lighter than Hogwood’s. The ouverture
is made dance-like, but the numbers tend to be slower than in the Decca
recording. The notable exception is the duet Fermati!, which is taken
on zipping pace - the most exciting ever performed. Recitatives are
imaginatively performed, the harpsichord particularly participative.
No wonder the cadenze in Vo far guerra are overdone. As a result, Rinaldo
sounds more varied than usual, and the beauty hidden in some numbers
generally performed only for brilliance is highlighted. Outstanding
in the cast is the Almirena of Miah Persson, sung in golden tone and
phrasing gracefully. The Armida of Inga Kalnar is certainly impressive
with her richness of resources, including impressive coloratura and
powerful top notes. In order to sound as the bad girl, her performance
is a bit over the top and, because of that, lacks the finish and stylishness
of Luba Orgonasová. Then there is the Rinaldo of Vivica Genaux.
When reviewing Curtis’ Arminio, I said I couldn’t wait to
hear more of Genaux in this repertoire, but, well, I’m disappointed...
The way she manipulates her low register goes against all the rules
of good singing. The first impression is that she is trying to produce
a caricature of Marilyn Horne, but then it is only that her low notes
are poorly focused and forced. In the end, her voice sounds remarkably
ugly. Because of this, Cara Sposa is completely ruined. On the other
hand, her coloratura remains impressively clear as always. Venti turbini,
for example, is indeed exciting. Countertenor Lawrence Zazzo offers
a solid, natural and musicianly countertenor as Goffredo, and Cristophe
Dumaux is a reliable Eustazio. James Rutherford lacks the flexibility
to make justice to the role of Argante. The recorded sound is warm and
natural.
One's opinion on the Bavarian State Opera's DVD depends on how much one
hates "modern" productions. Even if I may agree that Rinaldo's theme
- religious war over Jerusalem - is still qquite up-to-date and that there is more
than a touch of farse in the plot, I cannot understand why the visual concept
is so often quite ugly and why "charming" and "funny" had
to be replaced by "derisive". David Alden's sense of humour is too heavy-handed
for me and the way he treats his cast is outrageous - they are made to look mentally
handicapped, and a reasonably sensible director would have noticed that their
overacting interfere with their singing, especially in florid passages. Therefore,
the audience is supposed to be tolerant with some rough and untidy moments, which,
however, don't mar the beautiful music performance. A conductor unusually sensitive
to the necessity of singers, Harry Bickett leads a comfortable rendition of Handel's
score. Although it is not intense and musically eye-opener as Jacobs, it does
show how beautiful this opera is - and the Bavarian State Opera Orchestra (in
modern instruments) sounds rich and stylish all the way. Admirers of David Daniels
may ask if it is worth while buying this set if they already have Hogwood's CDs.
Recorded in studio with an all-star cast, Hogwood is able to opt for more challenging
(and exciting) tempi, but those who like richer orchestral sound will certainly
want to try the DVD. Also, David Daniels, if (understandably) less precise with
coloratura, is in richer voice here than in Hogwood's set. Maybe the warm recorded
sound has something to do with this. The most exciting product ever made in Switzerland,
Noëmi Nadelmann is the single member of the cast who really relishes the
stage direction. A true bête de scène, she brings amazing intensity
and sex appeal to the role of Armida. I generally dislike close-up in opera videos,
but Nadelmann makes a case of it, so rich is her facial and body expression (and
she looks attractive enough too). She is also a stylish singer and fluent enough
in the coloratura passages, but her top register is a bit metallic and slightly
unstable for Handel (sometimes she abandons the text to reach top notes as well).
Maybe she was just scaling down a voice often used for Violetta Valéry.
As Almirena, Deborah York is charming and fresh sounding. Some may point out that
her ornamentation is overdone, especially upwards, when her voice gets a hint
of hardness, but she is always master of her resources and thorougly musicianly.
David Walker's bright and homogeneous countertenor is pleasant (if lightweit)
in the role of Goffredo, while Axel Köhler seems entirely out of sorts as
Eustazio. He indulges in all sort of ugly effects and seems to be making fun of
what he is singing. I hope this has not been an "artistic" choise, since
it has quite more than a splash of bad taste. Egils Silins has a resonant firm
bass, but flexibility is not exactly one of his trump cards.
In order to
appreciate John Fisher's recording, one has to bear in mind that, in the days
this set was released, La Fenice has given proves of its foresight. Those were
days in which the great opera houses would never dream of presenting baroque opera
to the wider audiences, while this was after all the theatre where Joan Sutherland
made her Italian debut in Zeffirelli's production of Alcina! All this means that
the XXI century Handelian, spoiled by Minkowski's and Jacobs' recordings, may
found the whole enterprise entirely unacceptable based on today's standards for
baroque style. However, this highly theatrical performance certainly deserves
its place in the history of recorded baroque opera. Although one is not going
to find thorough stylishness here, the sense of forward movement is never lost,
the conductor avoids cuteness and, even if the hot-bloodness of the cast and the
thickness of the strings are a bit miscalculated, this certainly served to avoid
the museum-like approach. Both sopranos' vibrant tones verge on roughness in the
most exposed passages and their ornamentation - sometimes downright inappropriate
for this music - is often overdone. They certainly know, however, to thrill the
audience with their sheer energy. Even past her best, Marilyn Horne is certainly
worth while the experience. Her instincts are often right for this music and the
part is entirely within her powers. It is most curious to notice how she established
the "sound picture" for those heroic castrato parts - it is undeniable
that Caroline Watkinson, Vivica Genaux and David Daniels have looked up at the
legendary mezzo soprano to build their own performances. The part of Goffredo
has been transposed down to the voice of tenor. Although Ernesto Palacio does
not sound like what is supposed to be a tenor specialized in baroque opera, his
"classical" approach is harmless and the sound is quite pleasing. Natale
de Carolis is on the light side for the role of Argante, but is reasonably flexible.
The live recording is variable, but generally clear, but the edition used here
is exotic, featuring cuts aplenty.
top
~Rodelinda
1 - Dorothea Röschmann (Rodelinda), Fellicity Palmer (Eduige),
Michael Chance (Bertarido), Cristopher Robson (Unulfo), Paul Nilon (Grimoaldo),
Umberto Chiummo (Garibaldo), Das Bayerische Staatsorchester, Ivor Bolton
2 - Joan Sutherland (Rodelinda), Isobel Buchhanan (Eduige), Alicia
Nafé (Bertarido), Curtis Rayam (Grimoaldo), Samuel Ramey (Garibaldo),
Welsh National Opera, Richard Bonynge
3 - Anna Caterina Antonnacci (Rodelinda), Louise Winter (Eduige), Andreas
Scholl (Bertarido), Artur Stefanowicz (Unulfo), Kurt Streit (Grimoaldo),
Umberto Chiummo (Garibaldo), Orchestra of the Age of Enlightment, William
Christie
4 - Simone Kermes (Rodelinda), Sonia Prina (Eduige), Marijana Mijanovic
(Bertarido), Marie-Nicole Lemieux (Unulfo), Steve Davislim (Grimoaldo),
Vito Priante (Garibaldo), Il Complesso Barocco, Alan Curtis
5 - Sophie Daneman (Rodelinda), Catherine Robbin (Eduige), Daniel Taylor
(Bertarido), Robin Blaze (Unulfo), Adrian Thompson (Grimoaldo), Cristopher
Purves (Garibaldo), Raglan Baroque Players, Nicholas Kraemer
6 - Barbara Schlick (Rodelinda), Claudia Schhubert (Eduige), David
Cordier (Bertarido), Kai Wessel (Unulfo), Cristoph Prégardien
(Grimoaldo), Gotthold Schwarz (Garibaldo), La Stagione, Michael Schneider
Rodelinda was premièred at the King’s Theatre in 1725,
following Giulio Cesare and Tamerlano. The libretto by Nicola Francesco
Haym is inspired on Corneille’s Pertharite, Roi des Lombards,
using historical characters, such as Grimoald, Perctarit and Rodelinda
herself. In order to illustrate the various dramatic situations in the
plot, Handel composed, as in Giulio Cesare, arias in a great varity
of moods, even for the smaller roles - and some beautiful recitativi
accompagnati to match, the most notable the one preceding the famous
aria Dove sei. Some of these arias belong to Handel’s favourite
among the audiences, such as Ombre, piante, urne funeste!, Vivi tiranno
(written 10 months later for the revival of the original prioduction)
and Mio caro bene. Also, maybe because of its agitated plot, it has
been one of Handel’s most performed works.
The role of Rodelinda was written for Francesca Cuzzoni, Senesino was
the first Bertarido, Andrea Pacini the first Unulfo, Francesco Borosini
took the role of Grimoaldo, Giuseppe Maria Boschi, the role of Garibaldo
and Anna Vincenza Dotti was the first Eduige. The opera was a complete
success, being revived the following season (with Anna Strada in the
title role) and also produced in Hamburg in 1734.
Michael Schneider’s was Rodelinda’s first performance in
original instruments. He has an excellent orchestra in La Stagione and
the playing is elegant and accurate. However, the whole approach is
too oratorio-like and comes short of Handel’s inspiration - the
Bachian cast doesn’t help a lot either. Barbara Schlick is a sensitive
singer who readily understands what is required from her in every turn
of the plot - and uses the natural brightness of her soprano to put
some energy into her Rodelinda, but the voice is completely devoid of
any sensuousness and her method is too German. The same problem afflicts
Claudia Schubert, who is always competent, as Eduige, but lacks warmth
and is too tame of temper. David Cordier’s countertenor is unsuited
to opera. Beautiful as it is, its seraphic quality only serves the meditative
moments and, even so, after a while, it is too unvaried to leave a lasting
impression. Kai Wessel’s Unulfo, although stylish, needed more
tone to start with. Cristoph Prégardien is the saving grace in
the cast - his singing is so rich and beautiful and expressive that
you can’t quite understand why Rodelinda still cares so much about
Bertarido... It is hardly his fault that he does not sound like the
bad guy for one second... Finally, the otherwise flexible Gotthold Schwarz
lacks resonance in the role of Grimoaldo
Nicholas Kraemer and the Raglan Baroque Players’ Rodelinda make
Schneider’s sound like Verdi’s Il Trovatore. It is sorely
lacks energy and drama - and the playing and recording are less focused
than Schneider’s. I was enticed to buy this set after listening
to Sophie Daneman’s opening aria. I had also seen her sing Galathea
with William Christie and the beauty of her voice was mesmerizing. However,
Rodelinda needs far more than that. In this recording, although her
singing is entirely adept and beguiling, Daneman is helplessly bland.
All in all, the voice is too sweet for her role. On the other hand,
Catherine Robbin steals the show as Eduige, offering accomplished vocalism
and some charisma. Daniel Taylor’s countertenor has more presence
than David Cordier’s and he has more imagination, but, as much
as Cordier, act III is beyond his possibilities. Robin Blaze’s
countertenor has a brighter edge than Cordier’s, Wessel’s
and Taylor’s, but the sound is also more "feminine"
too. Adrian Thompson’s tenor has an attractive full-toned quality
and, besides Robbin, he’s the only one here aware that there is
some drama going on. However, his voice produces a weird sound whenever
it has to run, disfiguring his otherwise interesting performance. Cristopher
Purves forward produced bass-baritone is pleasing enough as Garibaldo,
but the role would gain from being sung by a true bass.
The DVD from the Bayerische Staatsoper features Ivor Bolton's clean
and dramatic conducting, helped by the warm and animated playing from
the distinguished house orchestra, vividly recorded in natural perspective.
This is a performance in which the drama takes pride of place - and
the compelling cast (with two notable exceptions) makes the temperature
rise even more. In the title role, Dorothea Röschmann offers a
forceful performance, making use of every word of the libretto and every
note of the score to create a flashing impression. The emotional intensity
of this performance, conveyed through the German soprano's creamy bright
flexible soprano, makes for a somewhat clouded low register. Also, her
understanding of the dramatic meaning of coloratura and ornamentation
is exemplary. A reference performance. Although close-ups reveal that
Felicity Palmer is a bit older than her role, her rock-solid mezzo soprano,
stylishness and fluent technique more than compensate that. Her sheer
energy and charisma make the role of Eduige far more interesting than
usual, even next to such an impressive prima donna. Although Paul Nilon's
tenor takes a glaring sound in the upper register and lacks focus in
the lower reaches, he deals with Handel's intricate writing with aplomb
and offers a rather congenial vision of his character while keeping
nastiness at an arm's length. Umberto Chiummo's bass too lacks focus,
but that works as a bad-guy sound after all. Unfortunately, the key
role of Bertarido is sung by a countertenor that even in his prime has
never had a heroic sound or a serviceable low register. It is true that
Michael Chance is stylish and expressive, but the overall impression
is too pallid and - predictably - act III does not work at all. Cristopher
Robson is even more breathy and inconsistent, but manages to convey
some lyricism in Fra tempeste funeste a quest'alma. David Alden's idea
of making Rodelinda a film noir with the mafia, speakeasies and plenty
of decadence is effective, if not original. He has good ideas that help
us understand the nature of characters, such as portraying Eduige as
an alcoholic version of Maerose Prizzi, but his overbusy actors' direction
falls too often in nonsense and ends on making the cast looks ridiculous.
This is unacceptable in an opera seria meant to be touching. Thank God
this cast scores high in acting skills, although only Röschmann,
Palmer and Nilon succeed in finding credibility in the buffonnerie concocted
by the stage director.
Alan Curtis's recording with the Complesso Barocco is a puzzling affair.
Few conductors who claim to be specialists in this repertoire would
succeed in transforming an opera seria into a divertimento the way the
American conductor does here. Drained from its dramatic intensity, one
could take this score for a series of charming melodies, especially
when the light and clear orchestral sound is pleasing as it is here.
This is particularly noticeable in numbers reputed for their expressive
power, such as Bertarido's Con rauco mormorio and Rodelinda's Ritorna,
o caro e dolce mio tesoro, here reducted to dance-like graciousness.
That said, the beauty of sound offered in this recording seems to be
compensation enough, especially in such a frustrating discography. The
exquisite-sounding cast concurs to the polite and polished overall impression.
In the title role, the German baroque-music diva Simone Kermes offers
purity of tone even in her easily produced in alts and proves to have
developed the middle and low registers of her beautifully homogenous
voice. She knows how to make clear that she is furious or tender through
verbal-pointing and takes readily to dramatic coloratura, but the tone
quality is cold and not really varied. As a result, her Rodelinda sounds
too chic for the circumstances. Just compare her to Dorothea Röschmann
live in Munich to grasp the difference. It is curious that throughout
the discography the role of Eduige is always cast from strength. This
recording is no exception, since Sonia Prina's beautiful contralto fills
Handelian lines without utmost charm and fluency. Although her tone
is warm and solid, there is never any doubt that she is taking a female
role. Compared to her, Marijana Mijanovic's more metallic and positive
sound does create the illusion of masculinity. Nevertheless, her performance
is a bit on the lackadaisical side. She seems a bit unconcerned, her
coloratura is sometimes too dangerously closed to aspiration and the
hint of uncertain pitch and flutter discretely noticeable in Minkowski's
Giulio Cesare is more evident here. This is highlighted by the fact
that the second male alto role is sung with firm warm velvety tone by
the admirable Marie-Nicole Lemieux. Taking the reluctant bad guy role,
Steve Davislim brings a natural and generous tenor voice to this role
for a change. His fondness for legato-ish coloratura sometimes result
in smeared passagework, but the tonal beauty is more than compensation.
It is a pity that Prigionera ho l'alma in pena is here is robbed of
all its sensuousness by Curtis's sprightly accompaniment. Finally Vito
Priante is a forceful idiomatic Garibaldo. This is also an opportunity
to here the alternative 1725 version of Unulfo's Sono i colpi della
sorte, while the usual version appears as an extra in the third disc.
What a great time to be a Handelian! Not only one DVD from Rodelinda,
but two -both of them featuring important singers, bands and conductors.
It is even difficult to compare both performances, since both are outstanding
- and inspired in old Hollywood movies. While Munich featured a re-creation
of the atmosphere of gangstering movies from the 40's, director Jean-Marie
Villégier goes even farther into silent movies to tell the story
of Queen Rodelinda. The idea is very good, but I am afraid the result
is even more artifficial than David Alden's. Not only does it robs all
spontaneity from actors, but it also turns down the emotional content.
Thus, the most obedient members of the cast, Antonnacci and Winter are
the main victims. There is no emotional charge in their acting while
they parade meaningless gestures throughout. It is a pity, considering
their acting talents. The other singers are more spontaneous, but are
made to look like children - I can't see the point. This is opera seria
and should look like it, unless for those who don't believe or like
the genre. When it comes to their singing, it is then an entirely different
matter. Antonnacci is in great shape and fills Rodelinda's lines with
her sensuous elegant flexible mezzo soprano and native Italian to great
effect. Although Dorothea Röschmann may find a more intense and
urgent tone to her Rodelinda, it is Antonnacci who has the sound image
of a tragic queen in her deeper and nobler voice. As Eduige, Louise
Winter has the bad luck of competing with some of the best Handelian
contraltos and mezzos. So her very good performance fails to impress
if one has Felicity Palmer or Sonia Prina in mind. Her voice sits higher
than the role, but she has a very good low extension (her embellishments
show that she feels more comfortable up there), and although her registers
are very well knit, it is preferrable to find someone who actually has
a lower gravitational center in her range. Also, her coloratura takes
a nasal not entirely pleasant sound. Andreas Scholl might be the reason
why I would go to this DVD rather than for the Munich one. He is simply
the best countertenor to appear in a Handel opera on video. The voice
is bright expressive and easy and he seizes the opportunity to produce
a grand effect in the heroic arias, what is something to marvel. Kurt
Streit is glamourous casting as Grimoaldo - his voice is free, natural,
expressive and he sings gracefully throughout, not to mention that he
is the single member of the cast who could make the artificiality demanded
by the stage director as an effective theatrical tool. As for Umberto
Chiummo, his voice is more flexible here, but fuller and darker in Munich.
Both him and the reliable Artur Stefanowicz are made to look affected
and ultimately ridiculous, especially when they are kept overbusy by
the director.
top
~Rodrigo
1
- Sandrine Piau (Esilena), Elena Cecchi Fedde (Florinda), Roberta Invernizzi (Evanco),
Gloria Banditelli (Rodrigo), Caterina Calvi (Fernando), Rufus Müller (Giuliano),
Il Complesso Barroco, Alan Curtis
top
~Scipione
1
- Sandrine Piau (Berenice), Vanda Talbery ((Armira), Doris Lamprecht (Lucejo),
Derek Lee Ragin (Scipione), Guy Fletcher (Lelio), Olivier Lallouette (Ernando),
Les Talents Lyriques, Cristophe Rousset
Scipione
was the eighth opera Handel composed for the Royal Academy of Music, soon after
the three most famous opera of this period - Giulio Cesare, Tamerlano and Rodelidna.
The reason why it was written has to do with the events involving the arrival
of Bordoni to the company. She was to have her Handelian debut in Alessandro.
However, her arrival had to be postponed. So, in order to accomodate her absence,
a new opera had to be composed. A libretto by Salvi was adapted by Rolli and the
remaining members of the cast intended to Alessandro were used. Although it had
a successful run of 13 performances, the truth is that it is not one of Handel’s
most inspired works. The libretto is shallow and, even if there is a richness
of recitativi accompagnati, Handel’s melodic invention was not in its best
- there are indeed beautiful arias, but notthing that really sticks to the mind
afterwards, as in Rinaldo, Alcina, Orlando, Rodelinda... even Alessandro.
Rousset
is the perfect advocate for this forgotten opera. He leads a beautiful performance,
warmly recorded and played with gusto. He also has a lovely cast. In the role
intended for Cuzzoni, Sandrine Piau offers a superb performance, where her velvety
soprano sparkles throughout. Vanda Talbery in the secondary role of Armira is
less beguiling, because there is an edge to her soprano, but she’s stylish
all the way. It is a pity that I haven’t seen Doris Lamprecht in other castrato
roles. Here, taking Senesino’s part, she offers a warm natural tone and complete
ease in her tessitura - a performance of complete charm. In the other castrato
role (intended for Antonio Baldi), there is Derek Lee Ragin in one of his best
performances ever recorded. The voice is more consistent than usual and his usual
affectation appears only in the recitatives. It is a pity that Guy Fletcher has
such an ugly voice, since Olivier Lallouette completes with distinction a cast
of unusual high level.
top
~Semele
1 - Cecilia Bartoli (Semele), Liliana Nikiteanu (Ino), Birgit Remmert
(Juno), Thomas Michael Allen (Athamas), Charles Workman (Jove), Anton
Scharinger (Cadmus/Somnus), Chor des Opernhauses Zürich, Orchestra
"La Scintilla" der Oper Zürich, William Christie
2 - Rosemary Joshua (Semele), Hilary Summers (Ino/Juno), Stephen Wallace
(Athamas), Richard Croft (Jove/Apollo), Brindley Sherratt (Cadmus/Somnus),
Early Opera Company Chorus and Orchestra, Christian Curnyn
3
- Norma Burrowes (Semele), Catherine Denley (Ino), Della Jones (Juno),
Timothy Penrose (Athamas), Anthony Rolfe-Johnson (Jove), David Thomas
(Somnus), Robert Lloyd (Cadmus), Monteverdi Choir, English Baroque Soloists,
John Elliot Gardiner
4
- Kathleen Battle (Semele), Marilyn Horne (Ino/Juno), Michael Chance
(Athamas), John Aler (Jove), Samuel Ramey (Somnus/Cadmus), English Chamber
Orchestra, John Nelson
5
- Sheila Armstrong (Semele), Helen Watts (Ino/Juno), Mark Deller (Athamas),
Robert Tear (Jove), Justino Diaz (Somnus/Cadmus), Amor Artis Chorale,
English Chamber Orchestra, Johannes Somary
6
- Danielle de Niese (Semele), Louise Innes (Ino), Guillemette Laurens
(Juno), Sebastien Fournier (Athamas), Paul Agnew (Jove), Jonathan May
(Somnus/Cadmus), Opera Fuoco, David Stern
Although
many consider Semele to be an oratorio, it is definitely an opera. For
political reasons (having refused an official invitation to compose
opera, Handel took profit of the excuse of vowing entirely to oratorio),
the name "opera" was avoided. However, nobody was fooled by
that. The work was referred to as "An English Opera, but called
an Oratorio, and performed as such at Covent-Garden" in 1760 in
a list of Handel oratorios. The libretto by William Congreve was prepared
for operatic use and was said to be allusive of a private affair of
King George II (so, basically, this is about gossip...). Anyway, in
our days, Semele, because of its wonderfully inspired music and the
interesting plot, has become one of Handel’s favourite operas and
has been performed as such in London, Paris, Berlin, New York etc.
Johannes Somary's 1975 recording shows Semele from the grandiose point-of-view
of oratorio performance in England before historically informed practices.
Tempi tend to be stately, a metallic-toned harpsichord is omnipresent,
strings adopt an unashamedly rich sound and ornamentation is discrete.
If you dislike period instruments, you should really try John Nelson's
performance with the same orchestra first. Beautifully played as it
is, the older release has become a curiosity - and the edition is severely
cut. Sheila Armstrong is the richer-toned (and maybe the less sexy)
Semele in the discography. Fortunately, that does not prevent her from
offering immaculate coloratura. Justino Diaz's bass is pleasant to the
ears and flexible enough for the occasional fioritura in the parts of
Cadmus and Somnus. Robert Tear is, on the other hand, thick-toned and
ill-at-ease with Handelian writing. Truth be said, only Helen Watts
survives the test of time. She is alternatively lovely as Ino and formidable
as Juno (a
good idea in terms of theatre, since Juno appears before Semele disguised
as Ino in act II), terrific both in recitative and song. A beautiful
souvenir of a too rarely recorded singer.
Although
John Eliot Gardiner's performance has a full-toned orchestral sound,
his conducting is stately and undramatic, tuning down the theatricality
and making it sound like a religious oratorio. Rhythms are clear and
precise, but tempi tend to be considerate - almost every number in the
score is presented markedly slower than in John Nelson's recording.
Moreover, the edition is cut - the role of Athamas almost disappears
of the work, for instance. As Semele, Norma Burrowes displays a pure-toned
flexible voice and crystal-clear phrasing, but is sorely inexpressive.
In the role of Ino, Catherine Denley sounds like the usual oratorio
alto and her solos are altogether too austere. On the other hand, Della
Jones has temper in plenty and vivid rendering of the text, but Gardiner's
tempi and a certain inexperience makes her Juno sound rather the operetta-villainess.
As for Timothy Penrose, his child-like countertenor is not fit to opera,
pleasant as it may sound. Anthony Rolfe-Johnson brings a more powerful
sound for his role than usual and his natural, flexible and bright tenor
is entirely at ease in this difficult writing. Robert Lloyd is a dark
forceful Cadmus but David Thomas is too gentlemanly a Somnus.
John
Nelson’s performance is on modern instruments, but the conductor
is entirely stylish and convinced his distinguished cast to understand
that there is humour going on in this piece. This is particularly observed
by Kathleen Battle, probably offering her best recorded performance.
She is in luscious silvery voice, excels in coloratura and is convincingly
provocative. Marilyn Horne, playing both the part of Ino and Juno, is
also very characterful and agile in coloratura. Although she is very
successful on differentiating both her characters, her voice is clearly
less fresh than those of her colleagues. Michael Chance is in excellent
voice and blends well in ensemble with his more powerful-voiced colleagues.
Samuel Ramey also sings two parts - Cadmus and Somnus - but I think
that there is not a point in this, but for the fact that he is excellent
in both of them. Not only does he display his impressive low notes and
agility, but uses recitatives purposefully. The only disappointing performance
here is John Aler’s. Although the tone is pleasing per se, it makes
some weird noises when it has to move. The recorded sound is exemplary.
David
Stern's performance is the opposite of Nelson's - it has a very small
orchestra producing dance-like rhythms, avoiding melancholy in more
pensive numbers and abounding in clear light phrasing. Although this
is probably Semele, the intermezzo, it is still worthwhile for the beautiful
choral and solo singing. Unfortunatelty, the edition used here is heavily
cut and engages into some adaptations in recitative. Danielle de Niese
is a charming bell-toned Semele, singing the title role with imagination
and stylishness. She is a bit economical with tone colouring and her
top notes can be a bit overbright, though. As Ino, Louise Innes displays
an attractive light and young-sounding mezzo. Although Guillemette Laurens'
English is rather accented, she offers a spirited performance and her
basically seductive tone only highlights Juno's schemy nature. In the
role of Athamas, Sebastien Fournier has a rather unbalanced voice and
has problems with low tessitura. Paul Agnew's Jove is caressing and
adept in coloratura, but truth be said: his voice has seen better days.
As a result, some passages show him grey-toned. Jonathan May has a rich
voice, not entirely clear in its divisions, and he successfully characterizes
his Somnus with a somewhat yawny tone.
Recorded
in studio following live performances (with a different tenor), Christian
Curnyn's Semele is the first complete performance on period instruments
available in the catalogue. The general impression suggests skilled
politeness in its sprightly rhythms, adept playing and forward movement,
while there is something impersonal and untheatrical about the proceedings.
It is not that the conductor does not have the libretto in mind - for
example, his approach to My racking thoughts does show (unlike
anything else I have heard) that Semele is uneasy and restless - but
many key moments are dramatically straight-jacked, such as the famous
chorus Avert these omens, when the choristers sing in such
uninvolved manner that one would have to guess that there is something
ominous going on there at all. I still cannot make my mind if this is
a valuable document: it is certainly features beautiful orchestral playing
and when some real animation comes along, such as in Now love that
everlasting boy, it does sound like an important performance, but
if you want an extra insight, you will have to look elsewhere. The cast
features only two singers close to memorable. The exquisite-toned Rosemary
Joshua, whose technical command is always something to marvel, is maybe
too understated and discrete as the ambitious Semele. English reviewers
love to say bad things about Kathleen Battle's performance, but she
does sound like someone who would offer more than tea when Jove resigned
his bolts for her arms. Also, Richard Croft comes so close to being
an exemplary Jove that one is even more upset about the occasional heaviness
and overcovered vowel. His clear divisions and caressing mezza voce
are definitely assets hard to overlook. Hilary Summers's androgynous
mezzo-soprano does not suggest either Ino's chaste charms or Juno's
bitchiness. In order to portray the jealous godess, she too often plays
off-pitch and parlando effects that suggest anything but formidability.
Stephen Wallace offers a capable performance as Athamas, but his countertenor
lacks a bit substance to be noticed in such an ungrateful role. Brindley
Sherratt is reliable both as Cadmus and Somnus. The recorded sound is
warm and clear.
Taking
profit of the gossip behind the libretto, Robert Carsen's production
(which has been around since 1996 since its première in Aix-en-Provence)
shows Jove and Juno as the King and Queen of England and Semele as the
modern version of a royal mistress. In spite of an uneventful solution
for Semele's death, there is plenty of funny and intelligent ideas to
cherish here - but the most remarkable feature is the stage direction,
which highlights the cast's acting skills, no mean accomplishment for
an eleven-year-old staging. William Christie launches the performance
with the fastest account of the overture and settles for a brisk and
theatrical performance in which panache is sometimes more important
than polish. Although tempi tend to be swifter than in the rival performances,
the conductor has a fancy for the old habit of shifting the pace for
section B in arie da capo and sometimes even for the repeat of section
A, sometimes for unsettling effects, especially in Myself I shall
adore, when both the performance's prima donna's and Christie's
manipulations of the score are a bit misguided. It is clear that many
musical decisions were made to follow directorial choices, such as the
unflowing My racking thoughts to match a hungover Semele on
stage or probably the slowest version of the chorus Now Love that
everlasting boy to make time for Semele's soft lesbian scene with
someone who, according to the libretto, has to be either a love or a
zephyr. Probably the only mezzo recorded in the title role, Cecilia
Bartoli has no problem with high tessitura, but many high-lying passages
are sung in a sort of breathy mezza voce. When she has to sing out in
such moments, I am afraid that the sound is not entirely pleasant to
the ears. Naturally, she has no problem with the difficult coloratura
passages, but she is often carried away by her abilities and produces
some unmusical sounds in her fits of overornamentation. In what regards
interpretation, her performance is highly commendable - she captures
to perfection the sexy, the teazing, the ambitious yet naive aspects
of her character. As much as many other singers in the cast, although
there is a light accent in her English, her diction is very clear and
she clearly knows her text and uses it to her advantage. She is very
much at ease with the acting requirements and willingly embraces some
difficult requirements, such as tearing the set apart while tackling
the impossibly fast divisions of No, no, I'll take no less.
I am not completely convinced of Liliana Nikiteanu's Handelian credentials
- she has difficults with the low register gear, smears a bit her coloratura
and has her poorly pitched moments. Birgit Remmert fares better as Juno,
but the writing does not seem really fit to her voice and technique.
If she finally pulls out a congenial performance, this is probably due
to her imagination and charisma. She is successfully partnered by the
hilarious Isabel Rey as Iris, even if the overbusy direction prevents
this soprano to be truly charming in her aria. As usual, the role of
Athamas is significantly reduced, but Thomas Michael Allen's peculiar
countertenor calls enough attention - sometimes he sounds rather like
an haute-contre. His phrasing could be more caressing, though. Charles
Workman establishes an ideal chemistry with his Semele in their "lovemaking"
scenes. His tenor is never really listener-friendly, but his fioriture
are smoothly handled and he does not disappoint in a honeyed account
of the opera's most famous aria, Where'er you walk. Finally,
Anton Scharinger's voice lacks resonance, low notes and true flexibility
for both Cadmus and Somnus. As one could have imagined, the edition
is slightly cut - and Apollo's recitative is sung by Jove himself.
top
~Serse
1
- Elisabeth Norberg-Schulz (Romilda), Sandrine Piau (Atalanta), Anne
Sofie von Otter (Serse), Sylvia Tro Santafé (Amastre), Lawrence
Zazzo (Arsamene), Giovanni Furlanetto (Ariodate), Antonio Abete (Elviro),
Les Arts Florissants, William Christie
2
- Jennifer Smith (Romilda), Lisa Milne (Atalanta), Judith Malafronte
(Serse), Susan Bickley (Amastre), Brian Azawa (Arsamene), Dean Ely (Ariodate),
Hannover Band, Nicholas McGegan
3
- Barbara Hendricks (Romilda), Anne-Marie Rodde (Atalanta), Carolyne
Watkinson (Serse), Ortrun Wenkel (Amastre), Paul Esswood (Arsamene),
Ulrik Cold (Ariodate), Ulrich Studer (Elviro), La Grande Écurie
et la Chambre du Roy, Jean-Claude Malgoire
4
- Isabel Bayrakdarian (Romilda), Sandrine Piau (Atalanta), Paula Rasmussen
(Serse), Patricia Bardon (Amastre), Ann Hallenberg (Arsamene), Marcello
Lippi (Ariodate), Matteo Peirone (Elviro), Ludwigshafener Theaterchor,
Les Talents Lyriques, Cristophe Rousset
Malgoire's
recording from the late 70's fails to capture the sense of humour in
Serse and offers otherwise an oratorio-like approach, very rigid in
its sameness and inelastic sluggish tempi, which are particularly harmful
for the arie di bravura. The young Barbara Hendricks's sensuous tone
works beautifully for Romilda, and Anne Marie Rodde's bright-toned soprano
is effectively contrasted as Atalanta. Both could show a bit more spirit,
but are charming enough. Carolyne Watkinson also lacks a more vivid
sense of characterization, but her contralto is taylor-made for castrato
roles. Ortrun Wenkel's Wagnerian alto may raise some eyebrows - she
is not the last word in Handelian singing, but the richness of her voice
is irresistible. Paul Esswood is in beautiful voice and sings stylishly
throughout. Both basses are aptly cast and sing with an animation not
readily available to their colleagues in this recording.
Nicholas McGegan offers an animated recording, warmly recorded, and
features sparkling orchestral playing from The Hanover Band. Compared
to William Christie's performance, McGegan seems less varied in expression
and more concerned about rhythmic buoyance. As a result, the arie d'affetto
sound less "touching" and the arie de bravura less extravagant than
in Christie's Paris performances. In the prima donna role, Jennifer
Smith is the opposite of fresh-toned and her singing has its pinched,
breathy and raspish moments. She is a stylish singer, but Romilda requires
singing of a more attractive nature. On the other hand, Lisa Milne is
a creamy-toned and sexy Atalanta. Susan Bickley is almost too discrete
in voice and personality for Amastre, but her sound is more coinvincingly
feminine than her rivals'. In the title role, Judith Malafronte's voice
is not rich and dark enough. It is a reliable performance, but less
heroic than Catherine Watkinson's and less expressive than the otherwise
less-focused Anne Sofie von Otter. Taking the role of Arsamene, Brian
Azawa is in crystal-clear voice and sings with poise and grace. A most
pleasant performance. Dean Ely's Ariodate displays solid round tone
and his coloratura is impressively smooth. David Thomas is a funny Elviro
who handles the flower-selling scene with aplomb.
William
Christie succeeds in conveying the whole spectrum of expressive possibilities
in Serse - not only do buffo passages sound entertaining and serious
passage are effectively heroic or expressive, but also the American
conductor finds a sense of unity throughout the whole score, especially
by means of theatrical recitatives and an overall warm approach to Handel's
inspired melodic lines. He also counts with an attractive cast. Although
Elisabeth Norberg-Schulz's tone is appealing enough, her vocal production
is fluttery and often quavery, distorting Handel's sinuous melodies
now and then. On the other hand, Sandrine Piau is a charming Atalanta
- her exquisited floated top register making for some awkward moments
in the lower end of the tessitura. Provided you can put up with Anne
Sofie von Otter's manipulation of her low register to deal with a role
not entirely suited to her voice, her performance in the title role
is quite interesting. She has the agility, the expressive means and
the sense of style. The vibrant tone does not suggest masculinity, though.
Sylvia Tro Santafé's incisive voice is really successful in this
particular aspect. Her strong chest register does evoke the straightforwardness
of her character. Giovanni Furlanetto's velvety and rich basso is pleasant
all the way and Antonio Abete is genuinely funny as Elviro, but it is
Lawrence Zazzo who steals the show as Arsamene, offering honeyed legato
and poetic imagination.
Recorded
live in Dresden, Cristophe Rousset's performance cannot compete with
William Christie's either in orchestral polish or richness - the orchestral
sound is somewhat recessed and lacking clarity - but is theatrical and
animated enough, especially so in the aria di bravura, in which the
mezzo sopranos taking castrato roles grab the opportunity to cause a
splendid impression. In the title role, Paula Rasmussen displays a healthy
firm bright and dark mezzo, flexible enough for her difficult arie di
furia. She is not terribly expressive and looks too feminine on stage,
though. On the other hand, the amazing Ann Hallenberg offers an all
round perfect performance. Her technical finish, loveliness of tone
and imagination grant her a place among the great Handelian singers.
It is a pity, however, that the make-up artists granted her a silly
look, including a moustache and an impossible wig. The role of Romilda
seems to be one of the most ill-fated in the discography of Handel operas;
Isabel Bayrakdarian does have a beguiling ductile voice and the right
approach to her role, but her manners are not naturaly those of a singer
for this repertoire. She cleverly uses that in her favour, making her
a more imperious and flashing Romilda than usual, but one still wants
to hear what someone like Rosemary Joshua would do of this role. Stealing
all her scenes with her comedy skills, Sandrine Piau sounds less crystalline
than at the Théâtre des Champs-Elysés and goes for
an earthier approach. Some may say her manipulation of low notes is
somewhat less noble here - but doesn't that go with the character? Pity
her serious aria had been cut, though. Patricia Bardon is a formidable
Amastre, sharply designed in her solid contralto and charisma. It was
not a good day for Marcello Lippi - his bass sounds a bit muffled, but
this does not prevent him from tackling his divisions with clarity and
energy. Finally, Matteo Peirone is an Elviro fluent with Italian comedy
style, both in his singing and acting. Michael Hampe offers an unobtrusive
actors' direction and some charming ideas, but Carlo Tommasi's sets
are too 1980's for my taste.
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~Siroe
1
- Julianne Baird (Elmira), Andrea Matthews (Laodice), D’Anna Fortunato (Siroe),
Steven Rickards (Melarse), John Ostendorf (Cosroe), Frederic Urrey (Arasse), Brewer
Chamber Orchestra, Rudolph Palmer
2
- Johanna Stojkovic (Elmira), Sunhae Im (Laaodice), Ann Hallenberg (Siroe), Gunther
Schmid (Melarse), Sebastian Noack (Cosroe), Timm de Jong (Arasse), Capella Coloniensis,
Andreas Spering
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~Sosarme
1
- Julianne Baird (Elmira), Jennifer Lane (Erenice), D’Anna Fortunato
(Sosarme), Raymond Pellerin (Argone), Drew Minter (Melo), John Aler
(King Haliate), Nathaniel Watson (Altomaro), Taghanic Chorale, Amor
Artis Orchestra, Johanes Sommary
2
(Fernando) -
Handel
had great hopes on his newly composed opera Sosarme, the libretto of which had
been written by Paolo Antonio Rolli (other sources name Samuel Humphreys) based
on a previous text - Dionisio, Rè di Portogallo - written by Antonio Salvi, whose
libretti were particularly appreciated by their directness. As it is, the plot
features the war for the crown between King Haliate and his son Argone, with a
romantic subplot featuring the warrior Sosarme and Princess Elmira. It was most
unusual that the story centers around the conspiracies which led to the war and
focuses the royal couple's suffering and remorse involving the family feud. The
audience contemporary to the creation of this work saw in it a reference to the
disagreement between King George II and his son, Prince Frederick Lewis.
The
première took place in the King's Theatre on on 15 February 1732 with Anna
Maria Strada del Pò as Elmira, the contralto Anna Bagnolesi as Erenice,
Senesino as Sosarme, the castrato Antonio Gualandi (called the Campioli) as Argone,
the contralto Francesca Bertolli as Melo, tenor Giovanni Battista Pinacci as Haliate
and Antonio Montagnana as Altomaro. It is a fresh and colourful score, in which
Handel's melodic invention was at its peak, although one might claim that the
plot is basically nonsense. It features many exquisite arias, many of which for
the primo tenore, such as the touching S'io cadrò. The most famous number
in the score, however, is the sublime duet Per le porte del tormeno, thematically
related to Elmira's opening aria Rendi Sereno and the final chorus. Also, Altomaro
does sing an aria from Aci, Galatea e Polfemo (Fra l'ombre).
Johannes Somary's
recording for Newport Classics features warm recorded sound and polished orchestral
playing. Beautiful as it is, it sorely lacks a backbone and many highly expressive
passages fall into a certain dramatic flatness. The use of a choir (instead of
the soloists) with really accented Italian does not help at all. However, the
worst problem is the weird edition, including the disappearance of some numbers
and the borrowing of a choir from other work, not to mention internal cuts - some
of them unforgivable, even horrendous in the case of the marvelous act II duet.
Julianne Baird's bell-like soprano works beautifully for Elmira, while Jennifer
Lane's fruity mezzo fits the role of Erenice like a glove. She sings with intensity
and womanliness. In this sense, D'Anna Fortunato is a fortunate choice for the
part of Sosarme, since her incisive strong mezzo does suggest the heroic quality
necessary for a breeches role. On the other hand, both countertenors sound too
sweet for their parts. Raymond Pellerin has a problematic gear change, disfiguring
his lines more often than his role deserved. Drew Minter is far more accomplished
and deals with his ornaments and divisions with naturalness, but the tone lacks
substance. John Aler is in healthy voice and sings with authority, good taste
and imagination. Nathaniel Watson has a deep rich bass, flexible enough, although
some of his extreme low notes may sound congested.
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~Tamerlano
1
- Mieke van der Sluis (Asteria), Isabelle PPoulenard (Irene), Henri Ledroit (Tamerlano),
René Jacobs (Andronicus), John Elwes (Bajazet), La Grande Écurie
et la Chambre du Roy, Jean-Claude Malgoire
2
- Nancy Argenta (Asteria), Jane Findlay (Irrene), Derek Lee Ragin (Tamerlano),
Michael Chance (Andronicus), Nigel Robson (Bajazet), English Baroque Soloists,
John Eliot Gardiner
3
- Elisabeth Norberg-Schulz (Asteria), Anna Bonitatibus (Irene), Monica Bacelli
(Tamerlano), Graham Pushee (Andronicus), Thomas Randle (Bajazet), The English
Consort, Trevor Pinnock
Tamerlano
is a unique work among Handel operas. It was composed in the same year of Giulio
Cesare (1724) when Handel was in firm control of the Royal Academy of Music. Its
first original trait is that the story pictured in the libretto is inspired in
a historical fact that had taken place some 300 years before the composition of
the work, but the main feature of the work is its concern about drama, sometimes
taking pride of place to music. It is all very positive to modern listeners -
although there is a good amount of recitatives, a fair rate of them is accompagnato
and very dramatic. Also, sometimes there are more characters in scene than we’re
used to see in a baroque opera. This turns the recitativo secco quite agile and
makes for a good number of ensembles - generaly placed in vivid dramatic situations.
Of course, the arias are very beautiful and the proportion between bravura and
lyric moments is perfect. Also, we have a tenor in the leading role. As a matter
of fact, the tenor taking the role in the original production was Francesco Borosini,
the first great Italian tenor to sing in London. He was said to have a two-octave
range and it seems that a most subtle dramatic intelligence, since it was his
idea the suicide of Bajazet in the end. He gave some interesting suggestions that
made Handel to revise the whole work before the première. The result of
it is that Bajazet is unusually theatrical and some recitativi accompagnati here
could be rightly called "scenes" in the way Verdi would have used.
Also,
Handel had a great cast - for the role of Andronicus, the great Senesino. He left
the primo uomo role, nevertheless, for Andrea Pacini, with the condition that
they had the same number of arias. Also, we can’t forget to mention that
the role of Asteria was taken by Francesca Cuzzoni.
I
have the impression that Malgoire decided to record as much music composed for
this opera as his could. I think that this was a wise decision, since listeners
are not left short of Handel’s inspired numbers cut before the opening night
or replaced by other ones later. The French conductor leads a beautiful performance,
with natural spacious recording, pleasant orchestral sound and a good ear for
dance rhythms. He also has a quite pleasing cast. Mieke van der Sluis is a creamy
toned Asteria, but I am afraid that Isabelle Poulenard is so charming and her
voice is so delightful that her performance as Irene is especially successful.
Henri Ledroit has a warm and natural voice, but he is a bit on the tame side -
this is particularly harmful considering he is the bad guy of the plot. René
Jacobs is also in bright and focused voice, but he is sometimes too affected.
John Elwes has a most pleasant and fluid tenor, but I also think he is too subtle
for a role that requires more passion. Gregory Reinhardt has a good voice, but
he is not my ideal of handelian singer.
It
is interesting to notice that Gardiner’s performance is the perfect opposite
of Malgoire’s. Here everything is made to sound very intense - the fast numbers
are made to be very fast and the slow ones slower than in Malgoire’s. It
is quite fitting to a score that sounds really "Sturm und Drang"-like
sometimes. I can see many things here that Glück used to make his dance of
the furies in Orfeo ed Euridice - and Gardiner stresses all that. If conducting
was the criterion to decide my choice in this opera, Gardiner would be the winner,
even if his decision to make the piece to be more "theatrical" meant
too many cuts. The problem here is the casting. In this opera, more than most
others, singers must be convincing in their parts and - more than that - they
have to produce vivid Italian declamation. Alas, this is definitely not found
here. Nancy Argenta sounds rather Bachian as Asteria, but her phrasing is more
shapely then van der Sluis’. In the other hand, Jane Findlay is a disaster
as Irene - her voice is poorly focused and it moves quite ungainly. Derek Lee
Ragin is always hard to frame. His voice is basically very very weird - it breaks
all the time and he is incredibly naught about screeching some very high notes
and using his plain tenor voice for the low ones. If the result was pleasing,
it would be really nice - but it is not. The voice sounds ugly and the result,
I am afraid to say, is far from masculine. I have a problem about this quality
involving a ruthless Tartarian emperor. However, he does have lots of stamina
and his coloratura must be one of the fastest I have ever heard. For instance,
if you compare Henri Ledroit and him in A dispetto d’un volto ingrato, although
Ledroit’s voice is convincingly virile, even in an incredibly slower pace
his coloratura sounds tentative compared to Ragin’s high speed ballistics.
I am afraid that the situation is even more problematic in Michael Chance’s
case. He sounds definitely sweet as Andronicus. Even Jacobs’ idiossincratic
performance has more assertion than his, stylishly sung as it is. I don’t
know how to assess Nigel Robson’s performance. It is definitely dramatically
engaged and he has the necessary weight and flexibility, but his voice is disturbingly
ugly. Sometimes the tone is so open and nasal that it seems that Mime is in the
wrong opera. It is really a pity that Gardiner couldn’t gather a better cast.
Pinnock offers a warm account of Tamerlano, more readily expressive
than Malgoire, but far less exciting than Gardiner's. Although the recording has
been made live in a staged performance, the orchestral sound, beautiful and charming
as it is, does not suggest the libretto's extreme dramatic situations and sounds
often too well-behaved. That does not mean that the cast lacks any sense of theatre.
On the contrary. Thomas Randle, for instance, uses his meaty tenor in such a passionate
way that one might ask oneself if this expressive style is proper to Handel, especially
when he forces his tone. As Asteria, Elisabeth Norberg-Schulz has too vibrant
a voice for baroque music. As a result, appealing as her singing may sound, the
sound is too often fluttery or raw. In the title role, the Italian mezzo Monica
Bacelli makes wonders in recitative and displays a flashing temper. However, her
registers are not perfectly blended and she has some grey patches in her voice,
not to mention moments of downright instability. Her coloratura is sometimes aspirated
too. Taking the Senesino role, the Australian countertenor Graham Pushee certainly
has a firm and bright voice, but his divisions acquire a nasal sound and the overall
impression is too modest for such a central role. The shining feature of the cast
is, without any shadow of doubt, is Anna Bonitatibus, whose lovely voice is not
only more sensuous than this performance's prima donna's, but also more solid
and impressive than this performance's primo uomo.
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~Teseo
1
- Julia Gooding (Agilea), Catherine Napoli (Clizia), Della Jones (Medea), Eirian
James (Teseo), Derek Lee Ragin (Egeo), Jeffrey Gall (Arcane), Les Musiciens du
Louvre, Minkowski
Teseo
was the third stage work Handel wrote for London. It was premièred in 1713
at the Queen’s Theatre. The idea was to re-create the success of Rinaldo,
with sophisticated stagecraft, a big orchestra and a heroic atmosphere. As the
libretto was thoroughly based on Philippe Quinault’s Thesée for Lully,
Teseo has inherited many qualities of the tragédie lyrique style, such
as the five-act structure, big arias in the middle of scenes (instead of exit
arias, as one would expect in Italian baroque opera), a secondary romantic couple,
many short arias and recitatives and many accompanied recitatives (primarily to
depict the character of the sorceress Medea). Also, the orchestration has inherited
some French touches - and there is plenty of obligatto instruments throughout
the opera. However, this opera has never been revived in Handel’s lifetime
and was only performed again in 1947. Even today, it is not one of Handel’s
most popular operas, which is a pity. It is a most creative piece, with dazzling
arie di bravura and many examples of brilliant music - Medea’s accompagnati
and arie di furie are particularly modern (I would say "Ombre, sortite"
with its descending scales not only anticipates the Sturm und Drang but also the
Wolfschlucht scene in Freischütz). The only reason I can imagine to its neglect
is Handel’s lack of imagination for the lyric arias. Differently from Rinaldo
(where there is Lascia ch’io pianga, Cara Sposa and many exquisite arie di
affeto), Teseo really shines in the animated numbers. Also, Handel has a most
distinguished cast. As Nicolini was not available, the first Nero in Agrippina,
Valeriano Pellegrini, was called for Teseo and the "specialist" in sorceress
roles, Elisabetta Pilotti-Schiavonetti, was the first Medea. Curiously, the first
Agilea was the first Goffredo in Rinaldo - Margherita de l’Epine, a singer
Handel admired very much. Her sister, Maria Gallia, played Clizia. The part of
Egeo was sung by the castrato Valentini and that of Arcane by the British contralto
Jane Barbier, a specialist in trouser roles.
Minkowski’s
performance couldn’t be more persuasive about this neglected interesting
work. He has all the necessary energy to give life to this richest score and,
although there is vigour, discipline is also here. His orchestra and choir are
exemplary. He also has a nicest team of soloists. Although I think that Julia
Gooding’s and Catherine Napoli’s voices are too similar and soft-centered,
they are very nice in their roles. Gooding is particularly expressive and her
coloratura in M’adora l’idol mio is breathtaking. Napoli is also very
charming and her act III aria is really exciting with some bell like staccato.
In the high castrato role, there is Eirian James. Although the voice is not particularly
beautiful and may sound edgy, her high mezzo fits her role really well and she
offers firm and rich tone throughout. Derek Lee Ragin is again his love-or-hate
self: the voice has a weirdest placement, but his coloratura is impressive by
any standard and he has temperament in plenty. Jeffrey Gall is also in firm voice
and avoids femininity in his countertenor. Finally, there is the controversial
performance in the cast - Della Jones’s Medea. Some may find that she is
over the top, but I think that the role of Medea, especially in this opera, where
she is beyond herself with rage 95% of the time, asks for this kind of singing.
More than that, her performance is within the limits of baroque style - unequal
registers, explosive top notes and heavily articulated text included. Moreover,
she is in top coloratura form and in powerful voice. I can’t see this role
sung otherwise.
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