Arianna in Cretan temperatures (Halle Handel Fest, 9 June 2018)
Dear all, this month has been busier than usual and it’s only now that I get around to writing about this wonderful performance! Sorry all about the delay, it’s the madness of everything, work and fun, amping up at the same time, so I ended up running from one to the other, like a headless but musical chicken.
There are two things about Halle: it seems it’s always unbearbly hot in June (like 30C and up, plus humidity) and the Ulrichskirche is inescapable. Other than that = fabulous.
Early June is too early for London to get that hot-busy, so for me it was a bit of a shock to the system (we’ve updated ourselves to Summer heat since, especially this week). It’s now one of those memories, very akin to childhood ones, of thadieu, Agathe and I walking up the tram tracks in the scorching sun, in an effort to get to the road we needed to be on for the airbnb. I have a vague feeling we complicated our lives a bit but that’s what fun memories are made of!
We quickly took showers and then headed off for some before-the-show grub. Once again, Halle was deader than a Dodo. We speculated some but our host came to the rescue and revealed the dark secret: everyone and their cat was out at the beach. Yes, thanks to the river, there is such a thing even this deep inland. Indeed, on the way to grub we ran into people with beach bags. Apparently the locals were expecting thunder storms with their lunch but seeing as how those got postponned, people took the opportunity to roast themselves in the sun and cool themselves in the Saale river. We thought maybe next year we should make it a longer trip and avail ourselves of the beach as well.
As you can imagine with this cast, there is very little more one can want musically aside from less humidity. The singers braved 30C for 4 hours, which is one of the most commendable efforts I’ve yet witnessed with my opera. And they sang well, too! I don’t know how they did it. True, water bottles were consumed throughout and there was liberal fanning – of your colleague, as well, which only made it all more congenial and down to earth (although by that I don’t mean to say singers should endure these temperatures day in, day out). The ladies singing ladies at least wore dresses, but Nesi had on a frock and Hallenberg a suit – whew!
Though everyone’s Baroque chops are superior, this was hands down Hallenberg’s show. The Energiser Bunny had nothing on her. She just merely spun really complicated arias and probably would’ve still gone on into the night, with an ease and cheerfulness that still looks amazing even after you’ve seen her several times.
Aspromonte was a bit of a revelation to me, as I hadn’t quite felt her in Vivaldi. I know everyone else praised her, but there you go. Here, though, and in a Vagaus-like trouser role at that, she sounded very good and enthusiastic, with enough energy throughout to match her experienced colleagues. It was very sweet of Hallenberg to give her a friendly push onto the stage when Aspromonte’s Alceste had to sing right after a bring-down-the-house aria by Teseo.
As Giulia noted (in her account of this performance), Arianna fits Gauvin’s voice really well (it sits at that not very high spot where her voice is at its most beautiful) and she threw in some cool and interesting ornaments in that bigger, more furious aria Arianna has (sorry if I’m not very well acquainted with the opera – most of Arianna’s arias are somewhat anguished but there is one that has kick to it).
This was the first time I heard Nesi and Hammarstrom live and they both lived up to their respective names. I was a bit irked when Emelyanychev, who had been thus far very accomodating to his singers (especially Gauvin, who strikes me like the kind of woman who will work out the best deal for herself 😉 which is a good thing!), all of a sudden let the horns loose on a particularly rambunctious Tauride aria.
Now the thing is, Tauride seems to have all the horn arias (which is also a good thing – we need more horn arias), so it was more than once that Nesi’s very solid low notes were swallowed by the combined efforts of the horns and Ulrichskirche acoustics. Most of us know that Nesi has one of the most reliable chest registers among mezzos, one of the very few mezzos who can sing Holofernes without sounding like the ship is sinking. So I wanted to hear those notes! Anyway, her singing was excellent and she has this sort of cool but badass aura to her that is unique.
Hammarstrom is a very different singer, rather reserved in manner and with a lyric piangency to her equally reliable chest register. Though she’s a Bradamante veteran, here she sang a girly-girl (Teseo’s ex?), who’s eventually whisked off by Alceste for the happy ending (we joked that Alceste and Carilda return for the finale after a lengthy period, in which one could only imagine what is happening).
Wolf seems to be a veteran of Halle bass(-baritone?) roles and he sounded good here too, putting some fear into Arianna (is he her dad?). I’m low on details but the gist of this particular Arianna story is she’s in trouble (with the Minotaur?) and Teseo flies to her/her people’s rescue, they fall in love, there’s some typical Baroque drama with exes and rivals but they finally get married or whatever the equivalent was in Creta back then. This story does not hint at all at what will happen in Naxos, all is Teseo ❤ Arianna here.
Speaking of an opera that isn’t very often performed, the team made it flow seamlessly for 4 hours, which is another excellent achievement. I could quite see how without a cast, orchestra and conductor of this level it could flag. Really looking forward to hear Emelyanychev and Il Pomo d’Oro later this year, under better acoustic conditions.
About two thirds into the show thunder and lightning arrived in Halle but by the time the show ended we were actually happy for some rain. So we, joined by Giulia since intermission, ran around a bit, looking for a place to sit down and chat and possibly eat/drink something.
Now this was 11:30pm on a Sunday morning and the centre of Halle had, as far as we could see, about 2 1/2 places still open. We finally chose a shisha bar, of all things, only because it looked like it was gonna be open indefinitely and had room to sit. The bar staff were actually cool and turned off the awful music on offer, though whether that was for our benefit or because it was late I can’t tell. But I for one really appreciated the effort and we went on chatting for a good while into the night.
ps: sorry, Giulia, I said I didn’t have any pictures from the curtain call – turns out I did have this one and it somehow got lost amidst all the other 2018 opera trip ones.
Posted on June 29, 2018, in baroque, live performances, mezzos & contraltos, opera trips, operatic damsels in distress, sopranos and tagged arianna in creta, halle handel fest 2018, handel, il pomo d'oro. Bookmark the permalink. 7 Comments.