Category Archives: countertenors
Almost a year after Ariodante, the London public has returned to the Barbican for Handel’s first local smash hit, 1711’s Rinaldo. Set during the First Crusade, Rinaldo manages the feat to be both unapologetically silly and decidedly un-PC. Goffredo’s army has come very close to liberating Sion from the Saracens when Argante’s top scheming ally, the witch Armida, has nonchalantly plucked Rinaldo’s beloved from under his nose.
Armida: sorry, stud, I need your fiance for a moment. poof!
Rinaldo: … what just happened? … and where is Almirena? [aka, Cara sposa]
Goffredo: you can get my daughter back after we conquer Sion.
Rinaldo: no! Almirena first, battle next.
He might be young and relatively unexperienced but things fall into place the way he wants them to. Super bonus: the baddies, Argante and Armida, willingly (narrow miss) convert to Christianity! All in a day’s work.
The English Concert
Harry Bicket conductor
Iestyn Davies Rinaldo
Jane Archibald Armida
Sasha Cooke Goffredo
Joelle Harvey Almirena
Luca Pisaroni Argante
Jakub Józef Orliński Eustazio
Owen Willetts Mago
As far as concert performances go, this was a mixed bag. The English Concert was in its usual high form, very disciplined, at best in the muscular parts of the score, with just minimal desynchs in the wind section and some – I guess inevitable – trumpet clarity trouble in the trills of Or la tromba. To the trumpets’ credit, they absolutely rocked Sibilar gli angui d’Aletto, which was the highlight of the night for me (surprise, surprise). They did such a good job as far as I’m concerned that they very narrowly upstaged Pisaroni.
Everybody before him (and some after) started a bit cautiously but he took this massive entrance aria with the right aplomb and confidence (and sang without a score through the night). It didn’t hurt that his voice was 2 sizes larger than everyone else’s. However he didn’t show this off for the sake of muscle flexing and resized back for the rest of his interventions. Even here he played with volume dynamics in the coloratura – perhaps foreshadowing Argante’s weakness? Now if you have volume and you’re called to sing an aria such as this I’m all for you firing on all cylinders 😀 and if you can play with it, that’s even better.
Pisaroni was also the most committed acting-wise, showing softeness when Argante falls for Almirena, (almost comical) caution and passion with lover/ally Armida and a very smooth U-turn at the end, when the baddies admit deafeat. This on top of the right amount of boastfulness of a “feared enemy”. It’s a silly role but a more nuanced one that you’d immediately give credit.
As Armida, Archibald was her usual self, I guess. I’m not a fan (for me she’s a soprano who has a very ringing but rather unpleasant top and little of interest elsewhere) but I will allow that, dramatically, her interactions with Pisaroni were rather fun. Vocally she was one of the most cautious ones, so Furie terribili was a bust – at least for me. Let us not forget that Handel wrote for virtuosi, who cherished the challenge to make a grand entrance, whereas I felt that she was still guaging how far her voice could go. If you have a voice large and sonorous enough to sing Strauss I’d say you could blast through a 2min Handel bravura aria (ok, ok, different style and all – but still; also as far as style went I thought she did well). But aside from a not entirely style-appropriate reach to the top of her voice later on, you wouldn’t have known what volume she has at her disposal. The coloratura was correct, if rather robotic (as Baroque Bird noted) but the moments when she cruelly played with Rinaldo by manhandling Almirena weren’t bad dramatically.
She was also unfairly hampered by the harpischord in that aria that features the keyboard at length, I wouldn’t know what to tell you about her interpreation, thank you overbearing harpsi. Imagine your concert performance is going well, with the various instruments having their moments, when an aria comes where you detect more prominent than usual harsichord involvement. At first I thought “how cool! There harpsi comes to the forefront to loudly let us know what it thinks, not just to whisper as it normally does – it’s ok if all the others (including the soprano) have to stop, turn around and pay attention.” It was ok and interesting even the second time. Then the third time came. Ok, I thought, Tom Foster is a very skilled player, why not? Oh, and this is actually an aria and the soprano is trying to convey something or another. What was that again? Nevermind, the harpsi will return for a fourth time. So all in all in that aria, the harpsi had centre stage for about 15min and the sorpano for 3. Classic(al) drum solo moment if I’ve ever seen one!
It was only upon further researching that I realised that was Vo far guerra (Archibald’s Italian diction isn’t anything to write home about…) and the harpsichord part is nowhere near as verbose, though it’s there and it’s definitely fun [edit: well, I’m proven kinda wrong. In the sense you can improv the hell out of it – according to your taste. It’s better if it’s at the end, though]. You’ll ask yourself, “come on, dehggi, you didn’t know Vo far guerra?!” Dear reader, I thought I did (kinda; that being said I totally forgot about Or la tromba until it started). One of the problems with the Barbican’s open plan hall is that if you’re seated on the Balcony and have my eyesight you can’t read the surtitles (I used the opera glasses to keep up with the plot but you can’t do it all the time or chance a headache).
Now of course I know Baroque is all about excess and if the singers can do their shtick, why not the instruments? Right, but it’s still an opera and not a keyboard concerto with bonus singing. Nevermind, judged by the ovations, this was the crowd’s favourite moment of the night, so there you go.
Iestyn Davies has been our local Rinaldo for a while now but I have to say he wasn’t in top form the other night. He came off a bit pale, both vocally and dramatically (most alive as a lover in his interactions with Harvey’s Almirena) and, hate to say it, his Rinaldo was upstaged in both stage presence and vocal shine by Orliński’s Eustazio – who has already sung his own Rinaldo in Frankfurt and I could see why.
I noticed some physical struggle with Davies’ coloratura in the massive bravura arias, which took his attention away from the drama. Especially in Or la tromba one needs to look like a very hopeful hero, ready to take on the last challenge in battle, and all I got from him was careful singing. I know it comes very late in the game but, you know, tough luck. In defense of the trumpets, aside from some tonal blur in the trills, the rest was great, beautiful sound, very good synch. I feel like I need to reiterate this because the trumpets were a pleasure and I know this is very difficult (impossible?) to do spotless with those valveless Baroque instruments.
To illustrate what I missed here dramatically, I’ll leave you with this concert performance (don’t be deterred by the low quality audio):
Harvey continues to baffle me. Though a singer of pleasant tone, vocal commitment and good technical skills, her stage presence is nonexistant. Glyndebourne is mere months away, I wager she needs to do something, because at this point, dramatically I have very low expectations from her Cleopatra. That being said, Almirena’s second aria was beautiful singing, my favourite from hers so far. The Augelletti aria not so much, though the piccolo was the bigger culprit (I didn’t like the tone, though I won’t argue if you call me nitpicky).
Like I mentioned earlier, I liked Orliński a lot. He and Pisaroni had the best stage presence and enthusiasm by far and he showed a very beautiful tone and nuanced phrasing. I’m going to see him in concert soonish, so expect to read something more in depth here once I hear more from him.
Cooke as Goffredo wasn’t bad, perhaps one needs to hear more before making a definitive call (I hadn’t heard her before). I couldn’t make my mind up if she was a low mezzo or a contralto but that wasn’t a problem. She came off as a good Goffredo, who’s supposed to be older and wiser – with unhurried gestures and a fairly authoritative vocal presence. She is one of those singers whose chest register sounds very different from her top. The chest is pretty solid though not particularly resonant whilst she can get a very strong ring out of her top. It’s quite metallic but rather intriguing, so I’d like to hear more of it. As an aside, hairwise she sported the curl of joy 😉 so there is a little extra bonus there.
All in all, a good, if not great evening. I’m way less familiar with Rinaldo than with Ariodante and I was pleasantly surprised by the quality of the music Handel produced before his 26th birthday (it premiered the day after). The number of arias that have become Handel classics is impressive and the lesser known ones ain’t bad either.
The conversations around me were way amusing (how many times have we seen Davies? Three? No, many! Even when Farinelli transfered to the West End! He was also in something else here, though in a secondary role [dehggi: he was Ottone in Poppea
a couple almost 4 years back, which is known as not having lesser roles – actually his E pur io torno qui is very nice]), though Mr. Twitter with fascist hair’s constant leaning directly in my line of view, especially during Cara sposa, wasn’t. I know not everyone suffers as much as I do if I can’t see the singers but I hate the disconnect. I have to say this was the first time I had “restricted view” at the Barbican. Moral of the story: never get second row Balcony seats, try higher.
Anyway! the next Handel opera concert performance at the Barbican is Serse this coming October, with Pomo d’Oro and a starry cast, including a certain contralto referenced in this very post 😀 I coughed up £40 for a second row Stalls seat so let’s hope all is good by then.
(as usual, sorry for the possible typos)
You might be surprised to hear that I once again lucked out with the weather in Vienna, something that only a year ago seemed laughable. T-shirt weather in October in Central Europe!
I also lucked out with my hastily bought seat1 and had an all night direct view at Galoumisù visually there’s precious little better than DG’s upper back/neck and with a profile view you get the best of both worlds… But, you know, the music!
2017 shall remain in dehggi history as the year of the contralto hunt, as all my opera trips were dedicated to the rarest spotted fach.
Giulio Cesare: Lawrence Zazzo
Cleopatra: Emöke Baráth
Tolomeo: Filippo Mineccia
Cornelia: Delphine Galou
Sesto: Julie Boulianne
Achilla: Riccardo Novaro
Conductor: Ottavio Dantone | Accademia Bizzantina
It may come as a surprise to some that, although I have by now quite a few experiences with, for instance, Ariodante, this is the first time I’ve seen Giulio Cesare in any house. So that is why, perhaps, I felt I liked the music a little less. To be sure, taken aria by aria we have a slew of strong ones, but also our ladies get some proper dirges. Also Tolomeo doesn’t get quite the snappy material Polinesso has. His horribleness usually amounts to old skool sexism:
Tolomeo: hey sexy mama, how about you and me in the desert-shed? Bow-chica-wow-wow!
Cornelia (lips twisted in disgust): how dare you, third world vermin, speak like that to a Roman Citizen?!
This exchange happens 3 or 4 times (as Cornelia is also popular with Achilla) and with both Galou and Mineccia very good actors, it was, dramatically, the highlight of my night. But I couldn’t help thinking we’ve got a sleazy man caricature and a racist cow… I mean, no shit, Cornelia, you’re the symbol of the colonialist establishment, you may not want to use that particular trait as the one we should remember you by.
However, Anik and I agreed nobody moves quite like Galou. She has the height (+ those heels that somehow haven’t broken her back yet) and enviable posture and she knows how to work them. This was the first time when I could see why these dudes are so hot and bothered by Cornelia, who usually is made to look like this mature and sorrowful widow, ready for the veil.
In that sense, Boulianne as Sesto appeared more like Cornelia’s younger sister (a vacillating Zdenka?). Though a singer I have appreciated in the past2, with a resonant voice and interesting darker tone, I’m not convinced Handel is her repertoire. Perhaps she was too focused on the surprisingly many, moody arias Sesto has, but on the heels of Galou and Mineccia, I was hurting for even a bit of nervous movement to go with that angst. I know I’m a fidget but how can you refrain from putting your body into this stuff?!
Hats off to Mineccia for his fantastic stage presence, with liberal (but very well directed) moving about. As I was saying earlier, his interactions with Galou (<- those snarls! haha) were priceless. I also liked the “sculpted” string sound during Empio, sleale, indegno – an underrated aria. He didn’t portray Tolomeo quite as a teenager but in the context of a very fiery Cornelia that rude young man thing was a logical foil.
However, back to Boulianne’s Sesto, I did enjoy her duet with Galou’s Cornelia. Their mix of very different voices (though I think tessitura-wise they’re rather similar) worked nicely for me. The dark colour brings them together for blending, but the weight and approach to singing makes each one pop out.
Going to see Cesare for Cornelia is a thankless task, though, being a sucker for the plight of damsels in distress, I obliged 😉 Ok, who am I kidding
I don’t quite care about Cornelia’s arias; in fact I was surprised to learn she has a chipper one towards the end. So far no matter how good the singer I thought it was just whinge, whinge, that third world bastard killed my husband, boohoo, my teenage son and I are all alone, omg, who’s going to save us now that Cesare is dead? Hello, Mr librettist: why the hell has Cornelia gone to Egypt with her teenage son in tow?
Cornelia: look, Sesto3, that scum there is your father’s murderer! Stab him!
Sesto: omg, I must be strong, but I’m only 12! What’s my mum been thinking?! Shit, now I’m seeing things…
You will say, wait, wait, dehggi, she didn’t know Pompey was dead. She thought he was just imprisoned by Tolomeo and Cesare (aka, Ancient World Police) would negotiate with (= force) said third world bastard and all will end well and her family would get a Sharm el-sheikh holiday out of it as entitled to by their first world status. It’s still kind of funny when, after liberally throwing imperialist/racist abuse at sleazebag she goes all omg! we’re lost. You’re in a war zone, lady.
That being said, I loved Galou’s timing and interactions with the orchestra – the way she got in and out of the phrase and how that blended with the sound around her – surprisingly especially when she was “duetting” with the flute, if I remember correctly. I also got a kick out of her big grins during and lots of clapping after Va tacito.
Zazzo, whom I remember as a very approachable chap from the masterclass I saw a few years back, seems to be a relaxed and courteous man all around, as he gamely shared the stage with Mr Hornplayer during this (Va tacito) most famous (?) or Cesare’s areas. Perhaps not as memorable a voice as others, his is very congenial live, when countertenors can sometimes come off abrasive.
He’s also a “stage mover”, though perhaps not quite as deliberate as Galou and Mineccia, but he brought out a surprisingly affable and luminous Cesare, who’d probably (very nicely) tell Cornelia to dial down the imperialistic angle. Along the same lines, his portrayal came off like Cleopatra was out of his league, but wow, what luck, she might actually like him (the kiss at the end of their end of opera duet was on-the-cheek shy). By the way, how catchy is that duet? Zazzo and Baráth somehow found the energy to play with it and sound playful whilst doing so. It got stuck in my head for the rest of the night and most of next day.
So now that we’ve established TADW decided to advertise this as Cleopatra in Egitto, how was Baráth? She was very fine, indeed. She has the Baroque-tone, the coloratura, the breath, the intelligence and the looks to pull it off but you know I thought Cornelia outshined her Cleopatra when it came to stage movement/charisma. She’s a bit too contained/cautious, but perhaps she’ll let go with time and experience.
Novaro as Achilla was very reliable and I really liked his red/black dragon jacket but, you know, Achilla. He was pretty respectful in his interest in Cornelia and took her rejection rather meekly.
whingy less interesting arias I had time to listen to the hall and it is true it’s not absorbent (which is probably a good thing for this repertoire). Luckily our singers were in very good form. The band wasn’t bad, though I understand it was occasionally sluggish/unfocused. The public was as usual very discerning and I was pleased to see that all the people on my row were interested through the evening.
Anik and I met before the show for one of those chats that managed to mix the traditional opera snark, the chicken with four breasts and whether personal bunkers of hard liquor is the best answer to Europe’s current problems. At interval we were joined for impressions by another very enthusiastic WS, who has already put up a review which will hopefully answer the questions I skipped.
The good news is TADW continues to win at Baroque opera in concert. Another good news is that TADW doesn’t object to taking your camera to your seat. The bad news is Quel torrente was cut again. And with Galoumisù so close at hand!
The Catalan German Piano ™ jams with the lo-fi czardas caballeros (Xavier Sabata, Wigmore Hall, 9 October 2017)
Wiggy usher (opens a window): oh, hello darling!
Woman: hello! I’ve never heard this band before, are they any good?
Xavi Sabata countertenor
(dis)Armonia Atenea, George Petrou director
Antonio Vivaldi (1678-1741)
Concerto for Strings in G minor RV157
Giuseppe Maria Orlandini (1676-1760)
Ciò che donò la frode … Alza al ciel pianta orgogliosa Adelaide
Francesco Bartolomeo Conti (c.1682-1732)
In te, sposa Griselda, mi uccido … Cara sposa Griselda
Trio Sonata in D minor Op. 1 No. 12 RV63 ‘La follia’
Pietro Torri (c.1650-1737)
Vorresti col tuo pianto Griselda
Gelido in ogni vena Farnace RV711
George Frideric Handel (1685-1759)
Admeto, re di Tessaglia HWV22
Chiudetevi miei lumi
Johann Adolf Hasse (1699-1783)
Viver vogl’io sempre per te mio dio … Or mi pento La conversione di Sant’Agostino
Mandolin Concerto in C major RV425
Attilio Ariosti (1666-1729)
Spirate, o iniqui marmi … Voi d’un figlio tanto misero Caio Marzio Coriolano
Giuseppe Maria Orlandini
O del mio caro ben … Già mi sembra al carro avvinto Adelaide
Lorca poem in Greek
Delizie e contenti Cavalli
Yes, the “…” are supposed to be not particularly subtle pregnant pauses liberally placed.
And, no, the moniker “German piano” isn’t my invention, because I know nothing about pianos, German or otherwise. I nicked it from Baroque Bird, who actually owns a piano (German?).
I do however know a bit about the – trv kvlt – black metal sound, which I occasionally reference around here, most famously in relation to Roschmann’s “facial” during Non piu di fiori 😉
In this case, it’s what the band’s sound at “shredding time” reminded me of. Those of you not familiar with (the second wave of) black metal should note vintage bm is the most trv kvlt-sounding of all extreme metal genres1. Forget death metal growls, forget industrial’s… industrial sounds; bm’s vision2 is:
- get beat up instruments from a decrepit second hand shop
- drag them through thickening mud
- plug them in (bonus if you get electric shocks on occasion)
- shred in unison only
- place boombox from 1981 (previously run over by a lorry) about 50m away from the instruments
- hit record (hit it like you mean it)
- rip out the tape’s ribbon
- shred it to pieces
- piece it together randomly with used sellotape
- shake well until you achieve complete homogenisation of sound
- save on your laptop using the lowest sound quality possible
- play loudly on said 1981 boombox
- = masterpiece!
- bonus: take yourself very seriously
- ps: don’t believe me?
I (being the kind hearted optimist you know and love) prefer to think this was Petrou’s mission statement, rather than a showcase for the band’s actual skills.
Or I did back in Halle this past June, when I blamed it all on
boogie the acoustically challenged venue.
They did come up with a new twist here – perhaps they did it in Halle too, and the acoustics were indeed so echo-y the whole thing bounced off my skull and got lost. This new(?) twist was the czardas-turned last ritornello in La follia, that unfailing old Vivaldi chestnut. Or was it a sirtaki? Now I seem to remember it’s customary to make sure your violin keeps in tune for a czardas
but I’m not a musician, so I can go stick my opinion in a blog or something, right?… all I’m saying is I’ve actually (or literally) had my ears checked recently and they have passed the MOT.
This Summer I listened to more Currentzis than I cared to and to be fair, that
pregnant pause thing
has its merits. But this time I really hurt for some legato with that pregnancy. It should still flow, shouldn’t it? I don’t know if you, dear reader, are familiar with Tracey Emin’s hand drawings, but suffice it to say that drawing skills aren’t prerequisite for becoming a contemporary fine art superstar. Still Tracy Emin surprised us with her humble side a few years back when she suddenly put some effort into honing her inner Picasso. The night’s orchestral accompaniment was the aural equivalent of that when it came to negotiating dynamics (and, often, tune).
dehggi (during the Cavalli encore): ah, so exquisite! Even the violins are more in tu… nevermind, I spoke too soon. But Sabata should sing more of this stuff.
After all, we were all there to hear him. I for one wanted to see him live specifically for his dramatic talents. At one point (right after the intermission?) he walked out with the band. The aria had a very long intro so he stood quietly to the side. All of a sudden he walked decisively towards the centre of the room, but not “hi all, listen to my next aria”, which is how it often feels like in recitals. Or how Antonio Poli walked off stage after a really good rendition of Il mio tesoro in the staged Don Giovanni at ROH :-p 3 No, this was thoroughly in character well before he started singing. And then things got even better because he has a very good technique that serves him up and down the range. And, you know, he‘s in tune.
At first I didn’t quite know what was happening because I barely heard him during the first aria and I lay some heavy blame on his projection or lack thereof. You should be heard from the 11th row at Wiggy. But things improved dramatically during the evening, which caused me to place the blame back on the Tracey Emins. Good on him for not forcing himself to sing over the racket. The second aria was already much better, when he employed some very stylish forays down the middle of his voice and all of a sudden someone on stage had personality. Fancy that.
He’s not the kind of singer who dazzles with endless coloratura (I understand this is the basis of the German Piano metaphor) but he can phrase with the best of them and has an imagination (and skills) to shape the sound, as thadieu would say. Which is why he should sing more of that Early Baroque, I think he has the right feel for it and for making it exciting.
In spite of all this, there were a couple of things from the others that I enjoyed – the metallic wrist-slashing chords from the viola da gamba during Gelido in ogni vena, the jazzy show starter from the double bass4 and the “wave” sound (during the Lorca song) that came out from the gut of the harpsi when Petrou stroked it. Wish the Vivaldijazz was further explored/incorporated and not in that L’aperggiata smooth jazz manner.
… it made for very lively conversation with Baroque Bird, Leander and friends at the interval and afterwards, though we didn’t all agree about everything.
as usual, sorry for any typos/errors, it’s been almost a week and I want to put it out there and my brain is a bit hazy edit-wise today.
- and it thus attracts tryhards by the boatload. BM fans tend to be even more humourless than those belcanto fans who think opera died when Callas lost her voice the first time. ↩
- “Just crank the gain, turn up the treble, scoop the mids, and bury the bass. “Metal” distortion pedals can also work well. The old bands did not give a f@ck about good tone.” (from here). ↩
- I don’t think I’ll ever forget that! He just walked away, like ok, aria done, let me get back to my crossword puzzle. ↩
- Yes to jazzy Vivaldi in general, though perhaps not so much to a syncopated tune in particular… but that’s personal taste for you. ↩
How fitting for the Handel season – I found myself in the right place at the right time for this webcast (we used the medici.tv channel) and ended up having a very enjoyable watching party “with” thadieu and Agathe, based on Giulia’s report from the house (which you can read here if you haven’t yet; it’ll help make sense of what I’m only mentioning in passing). I’m not going into the whole thing because I don’t know Rodelinda enough but I wanted to share a few impressions:
- what a (musically) wonderful opera! The perils of being exposed to the wrong singers/etc. come to mind when I think I’ve deprived myself of it for so long; lovely work from Bolton et all balancing the sweet mournfulness with the action
- yes to the 5 countertenors but can Bejun Mehta spin a dulcet line or what? I was floored by Bertarido’s entrance aria. Looking forward to Gia dagli occhi… in 3 months’ time!
- Eduige: more reasons to love Prina; seriously, the role works so well for her. Wish she had more to sing. She had some really fun things to do here, quite surprisingly considering it was a Guth production
- speaking of Guth, I agree he doesn’t quite get the Baroque ethos, but I did enjoy the whole kid + nightmares part and the unexpected humour; the Personnenregie is always paid attention to in his work and it was here as well
- I was further surprised how much I liked Lucy Crowe considering I’m not usually a fan. This was easily the best performance I’ve seen/heard from her.
When Wiggy posted their upcoming season we (Team London) looked curiously at this date. He’s singing what? I wanted to see DD because I really like his
Furibondo spira il vento tone so if he was singing Beethoven so be it.
It all started with Daniels apologising for obliterating his bowtie due to stage jitters. Perhaps if he waltzed in without mentioning it no one would’ve been the wiser (though what do I know, I’m all for casual chic and for moving swiftly on) but after that I’m sure we all focused on his collar. It was kinda cute.
David Daniels countertenor
Martin Katz piano
Ludwig van Beethoven (1770-1827)
Adelaide Op. 46
Henry Purcell (c.1659-1695)
Music for a while Z583
A Fool’s Preferment Z571
– I’ll sail upon the dog star
– Sweeter than roses Z585
Benjamin Britten (1913-1976)
Canticle II: Abraham and Isaac Op. 51
The first part was dominated by the Britten canticle, for which DD benefitted from help from tenor buddy David Webb. Their voices matched very well and they got into character enough to give the piece expressivity so that anyone could tell who was Abraham and who was Isaac. I liked it -> I should listen to more Britten.
George Frideric Handel (1685-1759)
– Pompe vane di morte!… Dove sei, amato bene?
– Si, l’infida consorte… Confusa si miri
Ten Thousand Miles Away (arr. Steven Mark Kohn)
On the other shore (arr. Marita Kohler)
Wanderin’ (arr. Marita Kohler)
The Farmer’s Curst Wife (arr. Marita Kohler)
After the interval we were on familiar territory, with DD giving us a bit of his well known Bertarido. DD is the type of coutertenor with a very smooth voice and a youthful, sensitive tone (by which I mean plaintive but not schmalzy), which fits soulful arias better than vicious ones.
But we (Baroque Bird and I) agreed that the most memorable part was the traditional bit, with The Farmer’s Curst Wife coming off a riot. So yes (from me) to coutertenors singing art song and, in this case, traditional song. I’m quite fond of traditional in general and I wish more opera singers included it in their song recitals.
Maybe you’re wondering what I mean by the sponge metaphor. Whilst listening I kept imagining a gently squeezed sponge, which refers to elasticity and to smoothness across the range as well as softness of tone. It’s true that he’s the old school kind of countertenor – neither as fast nor as interested in proving chest note prowess (I don’t think he ventured that way) as the current crop – but the kind of elegant wistful emotion he can produce is still endearing and unique, to my ears at least. Even in the Baroque repertoire it’s not all about athleticism.
And, yes, it’s the end of the month hence the pedal to the metal with a flurry of posts after days of languidity.
According to WP stats, 2016 was the year where I achieved the most with the least effort (119 posts published before this one, though we might get to 125 by the end of the year; by contrast, there were 140 posts in 2015 and 211 in 2013), which is a fine motto by me 😉
So let’s see what people liked to read on opera, innit? this year:
- “revival adriana lecouvreur roh 2016-17”
- Akhnaten at ENO (take 2)
- Ann Hallenberg (Gluck and Mozart)
- Juditha triumphans
- Akhnaten at ENO (take 1)
- Stutzmann and Orfeo 55 (Vivaldi)
- ROH 2016-2017 confirmed
- Maria Ostroukhova recital
- ROH Spring Season/London Handel Fest General Sale
- Ariodante at RCM (take 1)
The most read Tito was Röschmann’s Tito (how very surprising, I know).
Translation: Baroque, something unsual with countertenor, something properly old school with diva and what’s coming next at ROH. I am obviously not surprised about all the Baroque, or even about Akhnaten – because we haven’t had it in 30 years and ENO can do spectacular when it wants (or still) and in this case it definitely did, but I didn’t expect La Lecouvreur to get so much attention. We’ll all have to wait until February 7 to see if the bated breath was worth it (aka, if La Gheorghiu still has it). But yes, Akhnaten (I really hope they filmed it) and all the Baroque was the dog’s bollocks, fully deserving to be shared with all.
There are no doubts around these parts about Baroque but I’m very glad people have read about Akhnaten; it’s a wonderful “mood piece” about which I have very little to bitch (and that only when I’m especially mardy; my chief complaint is the title role should be sung by a mezzo or contralto 😉 you could see that one coming, I know) and I think more people should listen to it and definitely see it if it comes anywhere near them. I consider myself wildly lucky to have seen it performed “in my backyard” so soon after becoming acquainted with it.
- spelled like that, is a new search engine term via which someone found my blog.
- the reason I’m writing about this is because I’m quite adamant about privacy in general. I can see why someone would be interested in the whereabouts of a beloved celeb (ie, in which country they live, especially if they are originally from a place not at the centre of the opera world). Sometimes they are open and they talk about it themselves. Fair enough. But I still feel it’s less our business. Leave them be.
- you might think differently and that’s ok. There is a reason people chat with singers after the show. I’m ambivalent about that (as you may have noticed). Chatting might be very pleasant but you shouldn’t forget that the person on stage is somene else.
- I don’t know where he lives. I also don’t know whom he’s dating (if he is dating anyone) – this related to another search engine term. Please don’t illuminate me about either. Or about any other opera singer I like (but you can tell me about who those I don’t like have broken up with! this is a schadenfreude happy zone, not a nunnery – after all).
Very high countertenors (sopranistas? is there a difference?) are not usually my thing, but this one won me over with his tenderly beautiful lyric tone. I ran into him only because I wanted to hear some more Jommelli and I randomly clicked on this:
The screechy leggiero soprano has the kind of voice that makes me stuff cottonballs in my ears and run for the hills (I guess it was hard to find a soprano with a higher and lighter voice than his) but the contrast between the two made a perfect showcase for his voice, so I clicked on the solo aria, for clarification. He convinced me.
The comment below the video of Cara, deh serbami brought on the interesting subject of timing and/or luck. I’ve been thinking quite a bit about this: how many great singers that never were are there somewhere? This one at least has had a career but surely not a super bright one, or I’d have heard of him by now? Maybe it’s just me, but judging by the comment it seems that indeed he was born too early. These days he’d be singing in every important Baroque venue.
The rumours aren’t true, the great Viennese beast has not gulped me 😉 I’ve just been tired and/or otherwise engaged but luckily today is an absolutely lovely Mayday, super slow and lazy at work = perfect blog updating conditions.
So whilst being distracted by life I missed the fact TadW was going to and did livestream this. Anyway, my main reason for going was to hear the Arnold Schoenberg Choir in the flesh. This is hardly the most choir-friendly opera (they had exactly 3 things to sing, though they were on stage for much longer than that) but having sorely missed them (and Rene Jacobs) in Idomeneo earlier this year I took my chances this time, because seeing them in the same place where I “found” them is extra special.
Also though Bayerische Staatsoper is my temple of music, Theater an der Wien is currently the place where I’ve had the best all around memories – each of the three times I’ve been there was memorable in its own way. This reminds me of a short chat I had with thadieu yesterday where she made me pause for a moment and put things in perspective. Namely, what a great venue Wigmore Hall is. But the heart is easily seduced by greener pastures, isn’t it? 😉 Now’s a good moment to take a deep breath and ponder on the luxury of having been able to attend performances at all of them.
Lucio Silla: Alessandro Liberatore
Giunia: Olga Pudova
Cecilio: Franco Fagioli
Cinna: Chiara Skerath
Celia: Ilse Eerens
Conductor: Laurence Equilbey | Insula Orchestra | Arnold Schoenberg Choir
It’s no mystery that I’m fond of Mozart’s opera seria of which the chunkiest ones are Mitridate, Silla, Idomeneo and Tito. Mitridate and Idomeneo have in common the parent-child relationship whereas Silla and Tito are two takes on the benevolent ruler faced with a difficult personal choice cliche. Out of the last two, Silla has the severely inferior libretto, the type where historical fact is but a background for soap opera twists and turns. Which is annoying, as real life Silla was a rather interesting character.
In our case he’s (fictionally) fixated on Cecilio’s wife Giunia, reason for which he banishes Cecilio from Rome, hoping Giunia – incidentally, the daughter of the man he has deposed (Gaius Marius, the great reformer of the Roman army) – will eventually warm up to his insistence. She’s a constant 18th century heroine, so of course she doesn’t, however she has the opportunity to verbally abuse him (with great vocal florish) at every turn. Mozart has written some of his most gleefully difficult music for her and rare is the soprano who can do it proper justice.
Our Giunia was rather good (keeping in mind that I’m sold on Gruberova in this role). She did an especially satifying job with Ah se il crudel periglio which means her coloratura and breath control are exemplary. Basically Giunia’s breath is catching because she’s scared shitless. I’ve heard established sopranos struggle to make its seemingly endless grupetti sound natural instead of backfiring machine gun set to a metronome 😉 She wasn’t quite as emotionally elaborate as the above towering example but I was pleasantly impressed with her fearless approach and technical skill. So if I find it a bit difficult to be objective, let me go further the other way and admit that I found Pudova way cute and I had a hard time looking elsewhere when she was on stage.
Her interactions – both vocal and dramatic – with Fagioli’s Cecilio were excellent and believable, expecially in their D’elisio in sen m’attendi, another one of those swoony Mozart sexy love duets. Who can resist the heart flutter-like twin coloratura? D’elisio… can sit any day next to S’io non moro a questi accenti and Ah perdona il primo affetto. We need two singers to do an entire Mozart sexy duets recital together 😀 My only complaint is that she felt a bit underprojected before intermission. Maybe she needed some time to warm up.
Cecilio was Franco Fagioli whom I was eager to see again in Mozart, now in a smaller house than the ROH. The smaller, more intimate venue certainly works in his favour, especially when it came to understanding what he was saying. His diction is not his strongest point in general but in this case it wasn’t usually a challenge. The trademark warmth of his delivery was also much better supported by TadW’s acoustics.
Though I think he needs more “body”1 for Il tenero momento for the voice to bloom in the beautifully expansive manner that Mozart seems to ask for, he provided a really lovely diminuendo in the da capo and sounded (here and elsewhere) gorgeous and seductive when sentiment was called for. Reminiscent of his usual Baroque repertoire, his take on the bravura aria was satisfying. He got a bit buried in the duets with Pudova’s Giunia but their voice mix was good – they sound the same at the top which works for a lovers’ duet.
Liberatore in the title role (who’s already sung Lucio in that rather meh Liceu production from a couple years back) would make (has made?) a good Idomeneo, given that his bravura aria, Il desìo di vendetta, e di morte, is pretty much a proto Fuor del mar. His bigger voice provided good contrast with the others, especially effective in the trio with Cecilio and Giunia. He makes a pretty good villain.
Ilse Eerens’ (Celia) voice was particularly well projected with a bright top but not excessive ping, good take on top notes (good differentiation) and consistently good acting as everybody’s go-between. She’s Lucio’s sister in love with dissenter Cinna (Cecilio’s best buddy) and on friendly terms with Giunia. Her job is mostly to help Lucio calm (the hell) down and hide her interest in enemies of the state.
Celia’s boyfriend Cinna was sung with pluck by soprano Chiara Skerath. She did a pretty good job in this somewhat thankless trouser role. I think she actually has a solid middle, which is not bad at all for a young soprano 😉 Her coloratura is reliable for early Mozart, though perhaps more vocal oomph was needed to bring across Cinna as the outlaw Annio that he is. Her stage movement was good enough but I think she needs work on facial expressions, especially when she’s not singing.
Now onto the Arnold Schoenberg Choir = not enough singing!!!! Otherwise OMG2, we got a little glimpse at what it can do – very well drilled, lovely tone across the voices, great interplay between the sopranos and the tenors, real expressivity from the get-go, personality – once you heard it, you will recognise it – and, as Anik said, they brought a “Gluck-ish” feel to the proceedings that really worked in this intimate setting by giving it a sort of introverted gravitas.
The moment they got up and started to sing in the scene where Giunia is visiting her father’s grave is still vivid in my mind. A good choir can have a similar effect on you to hearing a favourite singer. But then they also featured on my favourite Silla recording, the Harnoncourt/Gruberova/Bartoli one from 1989 which I heartily recommend to anyone interested in getting (better) acquainted with this opera. Forget about the plot and just listen.
The performance was semi-staged, which meant the singers were in (contemporary) costume and fussed around with some boards but also the Personnenregie was paid more attention to than you’d normally get in a concert performance. I’d say TadW is getting quite good at recycling its surplus stage equipment 😉 Cecilio and Cinna play around with
graffiti red and white chalk, which made me think next time they might give the young chaps a sandbox.
At some point we have Giunia visit Cecilio in prison. That was represented by them talking to each other through mesh fixed to the frame that was normally holding up the boards the boys (yes, not men) were practicing their graffiti skills on. At the end Giunia tears it down and walks through it (ok, around it) to amusing effect (at least for some of us).
Though I wasn’t quite as underwhelmed by Equilbey/Insula Orchestra as thadieu was, I can’t say that I got a very vivid picture about the working of the whole either. The overture – one of my favourites – was taken at a more languid pace than I’m used to from Harnoncourt’s recording. It felt a bit disconcerting but that’s what happens when you have very clear favourites. I liked the very disciplined and prominent though not intrusive harpsichord throughout and I noticed the strings in bulk come in very handsomely at the more anguished moments.
Musically, it wasn’t the best evening but, as they say, the sum of the evening was greater than its parts: Mozart, the choir, the venue and the very good company of thadieu and Anik made for another great Viennese memory.
In spite of the (reoccurring) fickle weather (Tuesday was in the mid teens and sunny, Wednesday around 7C and rainy) Vienna continues to exert its subtle lure on me. Mozart and lazy chummy chats will do that to you.
It’s out on the Wigmore Hall site (which is not supported by my Chrome browser; whatever it is missing I don’t know as I use it for most everything else; but I suppose we’ve established google-related stuff is a bit shit).
I’ve spent a couple of hours combing the online booklet for a wishlist but obviously there’s more (please excuse the caps but no way I am typing all that again; might be wise double checking the dates):
10 SOILE ISOKOSKI
22 FREIBURG BAROCK ORCH
1 BABS HANNIGAN
2 STUTZMANN / ORFEO 55
5 BONI! / SEMIRAMIDE
23 TOBY SPENCE 3PM
23 JAMIE BARTON 7:30PM
3 & 4 FASSBAENDER MASTERCLASS 1PM
10 I DAVIES
15 HAIM / MOZART
24 STU JACKSON
28 LA CALISTO 7:30PM
29 PRINA / INVERNIZZI (third time’s the charm?)
31 ENGLISH CONCERT 7PM
9 EGARR HARPSI RECITAL
16 MONTEVERDI MADRIGALS
29 ST. DEGOUT
15 MATT ROSE
18 UCHIDA /CLARINET
29 EARLY OPERA CO
9 TALENS LYRICQUES
12 COUPERIN CONCERT
17 LONDON HANDEL PLAYERS
1 ZAZZO / LUTE 1PM
8 GENS 1PM
10 BOSTRIDGE / 9 JULY
7 ENGLISH CONCERT
11 BEN JOHNSON
24 BARTOLI / JAROUSSKY
7 ANTONACCI 7PM