Sonia Prina and friends: deluxe Vivaldi (Wigmore Hall, 7 February 2019)
Posted by dehggial
Vivaldi? The guy who wrote The Seasons and then renamed it different things over his long career? This was one of those performances that gives the listener a glimpse at Vivaldi’s varied range of skills, from virtuosic instrumental writing to vocal music.
I know we’ve barely finished a long conversation around Vivaldi’s Juditha, so everyone around here is way past a need for an introduction to Vivaldi’s badass music but this isn’t just that. It works on different levels. If you know your Vivaldi even a little bit, this team of musicians pulls you into his exciting world and by the end of the evening things feel better than before.
Super annoying corporatist type behind me to his junior female companion: I once was at a Vivaldi concert in Venice, in Vivaldi’s church!1
I couldn’t take it anymore so I upgraded to row M.
Sonia Prina contralto
Alina Pogostkina violin
Dorothee Oberlinger recorder
Sonatori de la Gioiosa Marca
Antonio Vivaldi (1678-1741)
Concerto in G minor for strings RV156
Là, sull’eterna sponda from Motezuma RV723
Ho il cor già lacero from Griselda RV718
Concerto in C for flute RV443
Sol da te mio dolce amore from Orlando Furioso RV728
INTERVAL
Concerto in E minor for violin RV277 ‘Il favorito’
Concerto in D for violin RV234 ‘L’inquietudine’
Sovente il sole from Andromeda Liberata
Anderò, volerò, griderò from Orlando finto pazzo RV727
Encore (aka, let no Vivaldi recital be without a Juditha section)
Veni, me sequere fida ❤ ❤ ❤
Agitata infinido flatu (all star)
When I heard both encores would be from Juditha I just about passed out 😀 It’s like she was there with us recently and thought “speaking of Juditha…”. But how will I ever be able to enjoy these arias in recital without a woodwind on hand, let alone an all star Agitata?! Yes, First Operaworld Problems strike again.
If you’re wondering if Prina has sung Juditha, the answer is yes, and in very good company (at your fingertips, too). I think I speak for all of us when I say we hope to hear her sing the whole thing live at a reachable venue 😀
It was a dark start, which augmented my rather unsettled state (let’s just say this week has been indirectly a bit too intense). ‘eterna sponda was done with that seductive wistfulness Prina can convey so well, yet with the usual spontaneity (the orchestra needed a moment to catch up but were solid throughout afterwards). Ho il cor gia lacero turned out fabulously febrile. This stuff fits her tone and temper like a glove. There is a bit of an arc between it and the other “fast and furious” aria of the night – Anderò, volerò, griderò, one of her staples – which she did faster than I’ve heard her before, to the point that I couldn’t follow the words – but she somehow could sing them! Hehe. T pointed out in the Juditha report (or was it in conversation?) that with Vivaldi there are many words to be sung and that can, sometimes, trip singers. Not in Prina’s case.
The wistful/slow and seductive arias benefited from her other skill – that of singing with gentleness and care. That also came through in her interaction with the other musicians on stage, especially her “duet” partners. As you know, Prina always interacts. She’s not the kind of singer lost in their own world, oblivious to the proceedings around them. Here she watched and “conversed” with her partners in crime as she does with her singing partners in a concert performance or in a staged production.
I don’t know what kind of violin Pogostkina plays but, whatever it is, it has a sweeeeet tone. I’m not the biggest solo violin fan but, wow, I loved that one and could imagine myself listening to it for the rest of the night – plump and warm, never strident. Whilst listening, it occurred to me that sometimes when I complain about the strings, it may also be that I don’t enjoy certain violin tones and not just the lacking skills of the players. Not to take away from Pogostkina’s skills, which I thought were excellent (really nice legato, light touch on the endings; she can “shred”2 without sounding uncouth and has very good rhythm).
Oberlinger looked just like my idea of the Pied Piper – are all recorder/flute/other mad winds players a bit whimsical? That’s a good thing, btw – as is the Pied Piper, one of my favourite characters, as I have mentioned around here before. At first I thought she was a bit flashy, the first piece sure went at lightning speed, but perhaps virtuosity was the whole idea. However, she won me over with the very lovey-dovey obligato in Sol da te and then the… whimsical one in Veni, me sequere fida. I think T called it a serious aria, but is it really? I think Juditha is allowing herself to be a bit playful/encouraging here, although they are sad. Oberlinger’s interaction with Prina, the way they played with the sounds, was simply a joy to listen to/watch. I really needed that 🙂
Though Agitata3 isn’t my favourite Juditha aria, to hear it with these virtuosic forces (again!) was a badass ending to an evening of comprehensive exploration of non-Seasons/Folia Vivaldi. Most of the audience realised the evening was top quality as the reception was very warm and enthusiastic. Somehow Prina and Co. lucked out on a really bright winter day here in London and in turn left us the gift of joy (indeed).
Posted on February 8, 2019, in baroque, italian opera, live performances, mezzos & contraltos, wigmore hall, woodwinds and tagged alina pogostkina, antonio vivaldi, dorothee oberlinger, sonatori de la gioiosa marca, sonia prina, wigmore hall. Bookmark the permalink. 31 Comments.
Thanks for the very athmospheric report, i can so imagine that evening, especially her interacting with the instrumentalists!
That Ho il cor gia lacero on YT is awesome, very typically of Prina, how cool you could hear that one live!
That Ho il cor gia lacero on YT is awesome, very typically of Prina, how cool you could hear that one live!
I have to say it was even more intense, probably because it was right there in the room 😉
especially her interacting with the instrumentalists!
the best part! It was that very Prina mix of chumminess with appreciation and seductiveness.
“probably because it was right there in the room” That explains it, you were right within her energy radiation, ready to stun people :-O
that’s it! 😉 and the hall being small, I thought at least a few times that she was looking at me 😉
Who knows, maybe after a few concerts singers recognize their hardcore fans? 😉
so we like to hope 😉
Sovente il sole ❤️
Sol da te mio dolce amor ❤️❤️
Veni, me sequere fid 😍😍😍
I know, right? they did pull some imaginative trills together. I’m always amazed how gentle and empathetic she can sound whilst at the same time rock the fast numbers.
Oh, yeeess ❤
hehe, it was super lovely. She took her time and went very gentle.
Sigh…
she will be back later this year 😉
When??
26 September, with Mameli.
Ah, so the new season already, great combination, would be so nice if they’d do some piece from Orpheo.
the anguished duet!
I think I speak for all of us when I say we hope to hear her sing the whole thing live at a reachable venue
yes, I would clear out my 2 weeks of work and camp near Juditha ☺️
I think T called it a serious aria, but is it really?
Actually I wouldnt know 🙂 . We saw 1 staged version that made sense of the context for me. But then again we did once mention SPrina’s Juditha is quite different from the moment she invited herself into Holofernes’s tent
But then again we did once mention SPrina’s Juditha is quite different from the moment she invited herself into Holofernes’s tent
haha, very true. I would really like to see her sing Juditha to Galou’s Holofernes, just for their interaction
are we allowed casting options now too? there are so many great Vagaus.. A.Hallenberg? and we get Invernizzi as Abra? 😎
Sure, sure! I’m very fond of Gauvin’s Vagaus as well.
would be a fun production where each performance of the run the singers draw from a hat which character they would portray that day ;-). There’s 1 hat for “lower voices” and one for “higher”
I like it 😀 Isn’t this like ACA and VK singing Tito together?
(we could add A.Coote to that cast 😉 )
Ha, yes! And JDD, most likely.
A WS sorting hat!
Galou’s Holofernes is super smooth…
mmmm, which is why I think it would be so exciting to see them together, how they would pull the moves on each other and make it work 😀
probably loads of push and pull!