Florid Gluck with Daniel Behle (Wigmore Hall, 4 February 2018)

Daniel Behle first came to my attention in Cosi fan tutte, with his Aur’amorosa, which was the best thing of that night. I was a bit surprised to see him bring a whole Gluck programme because I had this idea that tenors always sing stuff like Una furtiva lagrima in recital, regardless of their usual rep. Then again, as soon as he started I thought to myself  “he even looks like a bureaucratic Tito!”. So he sounds and looks like this rep, he might as well make the most of it.

Daniel Behle tenor
Armonia Atenea
Markellos Chryssicos director, harpsichord

Christoph Willibald Gluck (1714-1787)
La contesa de’ numi
Qual ira intempestiva … Oggi per me non sudi

Le cinesi
Son lungi e non mi brami

Suite of excerpts from Orphée, Don Juan and Iphigénie en Aulide

La Semiramide riconosciuta
Bel piacer saria d’un core

Ipermestra
Non hai cor per un’impresa

Interval

Christoph Willibald Gluck
La Semiramide riconosciuta
Io veggo in lontananza

Antigono
Quercia annosa sull’erte pendici

Baldassare Galuppi (1706-1785)
Concerto a quattro No.1 in G minor a different concert was played but don’t ask me details

Christoph Willibald Gluck

Iphigénie en Aulide
Cruelle, non, jamais

Orphée et Eurydice
J’ai perdu mon Eurydice

Encore:

Oggi per me non sudi

I’m always on the lookout for the next crop of Titi. He seems like a strong contender though I don’t know if he’ll ever get to the level of vocal agility + expressivity someone like Croft showed us is possible in this repertoire. I hope I’m wrong because I’d like to hear more high quality Titi and Idomenei in the years to come. Perhaps he had a slight cold as the very top proved rather stiff, though he navigated around that and everything else worked very well, with a good to very good command of dynamics. He’s convincing when he’s actively involved in music making, he’s not afraid of jumping head first into aggressive bounts of coloratura and his timing is ace (my favourite thing of the evening; his entrances were all spot on, even when the rhythm was akin to a ship tossed by tempestuous winds). I venture to say, though, that he needs to work a bit on his charisma in between numbers; that bureaucratic feel should be left with Tito.

It’s also unusual for me to hear so much stormy stuff from a tenor though of course I know composers occasionally give them such (Fuor del mar, Tu vivi etc.). There wasn’t that much bravura, just of very good quality, chief among them a strong oak aria – Quercia annosa sull’erte pendici – and the very first number, Oggi per me non sudi, which kicked things off in high gear. Pre-reform Gluck can be a lot of fun!

You all know my feelings about AA so I won’t reiterate (quick reminder = my Sabata writeup) but in their favour I quite appreciated Chryssicos’ cembalo skills. I welcomed the toning down of frenzy he brought along. I can see there is a schtick they go for regardless of who’s conducting (ie, fast’n’choppy) but here it was less mad with the rock’n’roll and more with the legato.

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About dehggial

Mozart/Baroque loving red dragon

Posted on February 15, 2018, in classical period, live performances, tenors, wigmore hall and tagged , , , . Bookmark the permalink. 14 Comments.

  1. (you think this band bought Wigmore Hall this year? 😀
    and in rubbing my eyes, i read “avoid Gluck with ..” and i thought wow, Dehggi is not mincing words!
    more Titi is good. i have to say i’m still not even sure who Richard Croft is.. he should sing some Ulisse, that’s how i remember them tenors..)

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