Oreste, Juditha triumphans and Ariodante in the months to come
Here are some reasons why Handel’s pasticcio of own arias, Oreste, is a good idea for ROH’s Young Artists Autumn Show.
One. A who’s who of core Handel collaborators sang it:
|Oreste||mezzo-soprano castrato||Giovanni Carestini|
|Ifigenia, priestess of Diana||soprano||Cecilia Young|
|Ermione, Oreste’s wife||soprano||Anna Maria Strada del Pò|
|Pilade, faithful friend and companion of Oreste||tenor||John Beard|
|Filotete, captain of King Toante’s guard||contralto||Maria Caterina Negri|
Two. Some rocking music:
Pensieri, voi mi tormentate (Agrippina)
Agitato da fiere tempeste (Ricardo primo) Fagioli | Stutzmann
Dite pace e fulminate (Sosarme)
Empio, se mi dai vita (Radamisto, though there it’s called Vile, se mi dai vita)
Se’l caro figlio (Siroe)
Dopo l’orrore (Ottone)
Ah, mia cara (Floridante) the best Handel duet – ever? alone worth the price of admission
Tu di pieta mi spogli (Siroe)
Mi lagnerò, tacendo (Siroe)
Barbican. Though it remains a staunch purveyor of Baroque music, the Barbican has gone mad on prices and terrible on spelling (have a drink for each one you spot in the screen cap below), but still:
For this 16 May 2017 performance of Ariodante I got a Balcony £30 ticket and I advise interested parties to avoid the overhang at the back of the stalls. Now let’s hope nobody changes their mind until then.
But before May 2017 we have Vivaldi’s mezzo/contralto heaven Juditha triumphans on 2 November 2016. And you will soon see why I made the effort:
Vivaldi Juditha Triumphans
Magdalena Kožená Juditha
Delphine Galou Holofernes ❤ 😀
Ann Hallenberg Vagaus ❤
Romina Basso Ozias
Silke Gaeng Abra
Andrea Marcon director | Venice Baroque Orchestra
Not to say that the music alone isn’t worth your
money wise choice of seat but DG in the flesh! I hope the sound carries well to where I got a seat on the left side of the Circle. And the others are very fine also (AH! as they say Ah, AH! 4 times in a year?! Spoiled, I tells ya), less so Ms Juditha but at least she has a pleasant voice.
Here‘s Sardelli’s take on it (of whose angular style I’m very fond), with DG and AH, and here is Marcon’s Venice Baroque Orchestra, which is closer to what we’re in for (for my ears the choir is a bit too soprano-flighty).