The beauty of colour in L’aure che spira
This is a youthfully angry, sharp and to the point aria, in which little Sesto fumes at the mouth against Tolomeo (he doesn’t deserve to breathe (the air)). Whilst re-reading a post of mine (I do that too 😉 ), I had a sudden need to re-listen. A few versions later I was bathed in the multitude of colours it allows.
Let’s start with Stutzmann, because I love her handeling of dynamics both in conducting and in singing. I feel this is a wonderful introduction to this aria, so typical of Handel’s writing of arias of fury (it’s not quite vengeance here; see Svegliatevi nel cuore for that). Also check out her moves at around 0:12:
(One of the iconic little Sesti of our time) Semmingsen with her bright(eyed) mezzo comes next for strong contrast. I’m not so sure about Mortensen’s conducting here; I feel the details are a bit muddled, though in the interest of characterisation – this is a very young Sesto – that might not be a bad idea:
Also a mezzo, but much darker, is Bonitatibus; always a strong Handelian (especially in troubled youth roles), it’s interesting to compare a dark mezzo voice with a true contralto:
And here we have another Jacobs take – a very speedy one – with Ernman at the forefront, unexpectedly catching my ear. This Sesto is a bit older or wilder than usual; if I were Tolomeo I’d keep my hand on the dagger:
Posted on February 16, 2017, in baroque, mezzos & contraltos and tagged anna bonitatibus, giulio cesare, handel, l'aure che spira, malena ernman, nathalie stutzmann, tuva semmingsen. Bookmark the permalink. Leave a comment.