Barock’n’roll from fearless Sonia Prina (Wigmore Hall, 28 June 2016)
We love some singers because they are full of emotion. We love others because they dazzle us with their skills. We love Sonia Prina because of her magnetic personality.
The moment she stepped on stage, unapalogetically rock’n’roll (blue spiky hair, tank top and trousers with spangly belt), all eyes were on her. And that’s where they stayed for the rest of the night, along with warmer and warmer ovations. The woman is one of those physical singers who, if nothing else, embodies the energy of the music, be it sorrow, gentleness or triumph. It is, of course, triumph that fits her positive, impish personality best. It’s always great to see a short person command the stage 😉
Sonia Prina and laBarocca | Works by Christoph Willibald Gluck (1714-1787)
— Sinfonia Le cinesi – very lightly done; I noticed that both kinds of bows were used – the first violin as well as another one and the double bass used the old school ones, everyone else had the usual type; sadly I can’t tell you more as I haven’t noticed this before (I’m sure it was just me) so I have nothing to compare it to or know anything on the subject…
Dal suo gentil sembiante Demetrio – Prina started with a soft, tender aria that showcased the many moods she commands and her skill at gracefully transitioning between them
M’opprime m’affana La Sofonisba – she brought forward her very strong low notes – clear, of satisfyingly dense texture and healthy; fury came through, her dynamic stage presence adding to the gravitas
— Sinfonia Ipermestra – the harpsichord as driving force felt istelf present here specifically and throughout in general; the horn had a very fine tone
Nobil onda La Sofonisba – here Prina showed off her ample emotional range, with an emphasis on nobility of spirit
Se in campo armato La Sofonisba – as the title implies, this is a bombastic bravura aria with horns; Prina put all of herself into it (major “stew stirring” arm movements 😉 ), showed spot-on timing throughout and ended with a towering (though not ear-splitting, thank you contralto texture) ff. As I was saying to Leander (read her take on it), this is how you do a trouser role (even though Sofonisba isn’t a trouser role 😀 but you catch my drift – the authority poured off her)
— Sinfonia La Semiramide riconosciuta – the horn and the winds return; all well integrated
Sperai vicino il lido Demofoonte – she was fearless and spontaneous here, though I felt iffy about her cadenza
Se tu vedessi come vegg’io Ippollito – this was a moment where it was obvious that Prina “stepped” into it well before her part started; she didn’t break the mood in between the verses either
— Ballabili (Dances) Orfeo ed Euridice
Tradita, sprezzata La Semiramide riconosciuta – the low strings created an excellent angsty mood; Prina vividly sustained and was on top of the very strong contrasts; it made me think she’d rock Monteverdi where this matters way more than agility
Se fedele mi brama il regnate Ezio – this one was all about colour and fun with dynamics in general
Encore: ? – whatever it was (she named it but as usual I didn’t get it…), it was suitably grand. Prina dueted very handsomely with the horn (see my comments on that below).
Sonia Prina’s voice is one I instantly liked. It’s unmistakable, as is her manner of singing. More than that, it really works with the whole: her strong stage presence finds perfect reflection in its top to bottom opacity mixed with lighteness. That’s the thing, I think. It’s very opaque, without being particularly dark, but light in weight (though “punchy”, not agile). She can, when she wants, brighten it for effect, and then it gets surprsingly gentle, almost vulnerable, but generally speaking it’s compact and direct. It goes very well with the sound of the horn. It’s regal and extroverted.
Recently I’ve started to listen to more (pre reform) Gluck and I’m liking it better and better. Among other things his La clemenza di Tito is surprisingly (or not?) fetching. More on that in an upcoming post.
This particular selection has afforded Prina the opportunity to show off her considerable emotional range. She’s given us everything from tender gentleness (some disarming diminuendos) to unmovable authority (courtesy of her rock solid – and very sexy – chest notes) – sometimes within a span of seconds, conducted with amazing self assurance. If her coloratura is rather curiously deployed – and, some would say, fired with more aplomb than accuracy – and her ornaments seem so spontaneous that they misfire on occasion, she can build and sustain the mood of an arioso with a coherence and an authority I don’t see very often.
One of the things I remember from watching that Thomas Hampson masterclass was his insistence that the singer should get into the mood and rhythm of the aria before their part starts. Prina definitely does that. She’s riding that mood, whichever it is, whether she’s singing or not. She’s the kind of singer who pays attention to her surroundings (the orchestra), and so her singing feels very oraganic. It’s not for people who go for rigour and cleanliness, but she knows rhythm, has impecable timing, knows how to colour her phrases and make them interesting and isn’t afraid to use her body to illustrate the music. Isn’t afraid to be herself, in fact. She might not be technically the best but she’s one of the most interesting, unique and infectiously positive singers on the scene today. She’s not fussy or self conscious; she sings, she has a good time – seemingly even when the aria is about heartbreak or scorn. We’ve got 6 months until the next Wigmore Hall installment 😀
Random debate with Team London: Bach or Vivaldi?
Posted on June 29, 2016, in baroque, classical period, live performances, mezzos & contraltos, wigmore hall and tagged christoph willibald gluck, labarocca, sonia prina, wigmore hall. Bookmark the permalink. 21 Comments.