The return of contralto duels
Haydn, right? The cheerful composer wrote vocal music among other things, and one of those pieces was the promisingly titled oratorio Il ritorno di Tobia. The biblically challenged me immediately wanted to know where Tobia went in the first place (answer: to Persia, on a money (owed to his father) collecting errand; (post)Baroque-bargain moment: he also found a wife; on the way he ran into the Angel Raphael (as you do), who wisely advised him to pick up certain items that came in very handy later, such as when he needed to cure his father’s blindness and get married – though not at the same time.
Anyway, a weekend Bible lesson isn’t the reason for this post, but a brass-happy aria, Sudò il guerriero (tl;dr: your efforts aren’t always justly rewarded but keep fighting and eventually you will prevail) sung by many (not just contraltos) but new to me. Our duellers today are Ewa Podles and Marie-Nicole Lemieux:
I like the Classicism of it all, with its post-Baroque flashes of virtuosity and construction and the more modern (for its time) development of the phrase. It reminds me of both Mozart’s Mitridate and Entfuhrung, which is of course a good thing.
Posted on February 24, 2018, in classical period, freeform weekend, mezzos & contraltos and tagged ewa podles, il ritorno di tobia, joseph haydn, marie-nicole lemieux. Bookmark the permalink. 3 Comments.