A reminder to tune in right now for Betulia liberata (featuring Galou and Piau), just in case you haven’t had enough of Juditha over this period 😉
To begin with, the tenor has a proto-Se all’impero type aria, hehe. There is a tenor. Is he Holofernes?
Have you ever wondered why none of Mozart’s best known operas are based on biblical subjects? Could be because they all end up sounding like bedroom dramas/dramedies 😉 The recits for sure.
This must be Juditha; she’s not exactly heroic but she has some very high notes. Piau sounds different in Mozart but beautiful nonetheless. The tenor: blah blah. Juditha answers back. He must be Holofernes, indeed. She sounds sort of like a particularly en garde Susanna. He sounds like a Mozart tenor that is not portraying royalty.
I know this aria! Unless I’m thinking about a Haydn aria. Nope, it’s this aria I’m thinking about. The one here is neither but it’s pretty good, finally something rather heroic. Well, finally – we’re not yet half an hour in.
As I understand, this is being held at Haus fur Mozart (it’s part of Mozart Week 2019), which we know and love in all its splendid poshness. The audience is very appreciative, they applau after every aria.
More tenor; he’s fretting (like Mozart tenors are wont to). The chorus mirrors his fretting – see what I mean about sounding like a bedroom dramedy?
A minor key aria, oh no! His nookie chances have perished for the moment. Pieta, signor di noi! He really says that. Wait, maybe he’s not Holofernes? It’s a bit serious and the chorus joins in. Maybe he’s… Ozias? Mozart, help me out here. Are we supposed to laugh at him or cry with him/them?
Anyway, it’s kind of an interesting mood, quite far from great Mozart but onto something.
More budoir-chatting recit. Oh, look, Galou showed up. Who is she here? She seems alarmed. We hope for an angsty aria. It’s a rousing accompanied recit, pretty decent writing from Wolfie, great agitation from Galou. Cool, how about the aria now? Hey, it’s actually a mid-tempo number with trills. Who knew! She sounds interesting in Mozart, more mezzoish than usual. She’s hoping for something, but who isn’t in this scenario? She seems to be vaccilating (also known as the typical mid-tempo number with trills). Oh, no, a Mozart character who is undertain of how to proceed further?!
The audience is so well behaved, even the contralto gets applause! Aww, and I always make fun of the Salzburg crowd 😉
Speaking of preghi sinceri (sp), is she Holofernes or what?
The tenor and the choir return for a honest to god (no kidding) dirge. He could be Ozias. A tenor Ozias?!
No answer to preghi, some bass showed up. I think we’re doomed. Whoever he is, he’s also nowhere near as calm as the Assyrians over at Vivaldi’s. A fretting buffo bass is amusing.
Yes, an aria with trumpets! NOW we’re talking. The buffo bass reminds me of the cuckolded husband from Lo sposo deluso. He must be Holofernes. I think we’ve established by now that everyone else save for Piau could be Holofernes 😉
Wait, the amorous tenor is speaking to Galou and calling her Giuditta. Err… ? Haha. Total confusion chez dehggi.
I DO know this aria! It’s… it’s… hold on, I know it. It’s… something that Hallenberg sings. Parto inerme! e non pavento! So Galou’s made up her mind and she IS indeed Giuditta, because, hello, she’s going unarmed. So she’s the one chopping heads in this one. Who is Piau? Abra? Piau is not Holofernes 😉 I’ve never heard Galou sing Mozart; she’s stylish as usual. I’m still not sure if Wolfie’s music best suits the colour of her voice. I mean she sounds good and all but I’m not sure she sounds great like in the Baroque rep. The audience loves her. Aww. I think she’d got more applase here than in the Baroque I’ve heard her where she stole my heart. Such is life eh?
The choir gets all verklempt over the gran cimento she’s getting herself into. I wouldn’t advise anyone to play with cement either. Even the choir gets hearty applause. Hey, Salzburg fans, go easy on the cider.
We understand from the commenter that Holofernes has not entered the building yet! This was all in the Bethulian camp. So, there you go, the Who is Holofernes? game continues.
Apparently there is a theological debate going on, as the next (tenor) aria features the line “if you want to see god”. Could’ve fooled me, it sounds along the lines of Del piu sublime soglio. And dude, does it go on…
The tenor/Ozias really has a lot to sing in this one. They are some
long neat mid-tempo Tito in training arias. The audience will get sore palms by the end of this performance.
The Bethulians can’t deal with the tension, Giuditta is not replying to texts. Answer: angsty-storm aria!
I’ve heard this one, too, though I can’t name it – something heavily featuring procella and naufragar, of course. I have to say that Haus for Mozart, although the small hall out of the three, isn’t exactly that small. Would have been intereseting to hear how Piau and Galou managed. Their style is great. The audience has been building up their cheer and I think they likes this one best. Piau’s coloratura-fest was ace.
To the fields! They are all basket cases. Oh, Giudatta’s back, thank YWH! You do get that nice effect with a contralto/dark mezzo tone, where you don’t have to do much to get everyone to calm down: just open your mouth. Giuditta gives a heartfelt speech and you bet they all hang onto her very word. Well, I did and all the way from here at that. Aha, she’s already built her plan, she will attack whilst he’s asleep. Good idea, Giuditta, I heard it works rather well, especially if your Holofernes is a burly chap. She’s quite verbose, let me tell you, but that just means more Galou sounds. Maybe she told them everything in great detail. I think there is also something else she tells them: listen to Vivaldi’s version 😉
There is quite a lot of wringing of hands this side of the 18th century.
Prigionier che fa ritorno – is this an aria we should know, or is this just one of those Metastasio stock phrases? They do like to give Giuditta mid-tempo stuff with very long held notes to sing. Come on, I want something fist-pumping. Then again, Galou gets some neat emotion in this one – she sounds more like usual self here. This Giuditta is much less angry than the Vivaldi one. I think she may enjoy the spotlight a lot better.
The buffo bass is pooping his pants for some reason. Take heart, dude, Giuditta is doing just fine, judging by the above aria. I think he loves her or something. Te solo adoro, he says in a – you guessed – mid-tempo aria with trills. His trills are kinda nice. Also, nice pp I wasn’t expecting on eternita (they all get philosophical). I think he’s a bass-baritone – a nicely toned one. Tentative applause, no! He did quite nicely.
More fretting in Bethulian camp. And another mid-tempo aria with… Pieta, signior, pieta – now for soprano, with some nice pp. The deal seems to be this: the Assyrians are attacking. The Bethulians have prayed very hard.
Bethualians: YHW! Pieta, signior, pieta!
Giuditta: clearly, someone has to do something.
Ozias: YHW bless you, noble widow! We will pray for you.
Buffo bass: she’s so hot when she gets bossy.
Bethulians – in this case, Amanda Forsythe – are still busy fretting. Major fret aria, so-so on the Mozart scale. They keep talking, obsviously Giuditta is busy… wait, she’s back. I wonder if Metastasio was short on funds and couldn’t afford the Assyrians in this libretto 😉
The choir is back and so is Giuditta – together. Nice idea, could be a powerful scene to stage. We need more Galou + choir, smartly conducted, though. Very nice ending, Wolfie recovered well.
Before I go into details about Halle and Glyndebourne, I wanted to share this aria I ran into yesterday (after looking up Galou’s version of Quel torrente…, which tends to get cut but Christie didn’t (yay!)) and I was very taken with it. Six degrees: it’s from Halle Handel Festspiele 2010.
There must be a reason why Statira is wearing a blonde wig whilst Argene has on something very much akin to a cycling helmet (everyone knows cyclists are pests!). Ok, so it’s a ropey turban 😉 she still looks ready to mount a bike (considering all the men are steering clear…).
Similarly, there must be a reason why Dario is wearing the same attire as the shadow of Cyro (Saudi style). The other guys simply can’t compete, whether they have the oil or the weapons.
You would think a smart woman like Argene knows 1) what the oracle says goes (whoever marries Statira will rule the empire) so 2) simply tempting Dario away from the blonde won’t do the trick. But it appears she has fallen for him much in the same way men who should know better (Niceno) have gone gaga over Statira. During part I she languishes in bed, mopey because he won’t notice her. But she springs into action as soon as he wanders into her room (as opera characters seem to; to be fair, she promised him her “help” in getting Statira to love him).
Flora: Mylady, Dario is coming, cover yourself so you can receive him!
Argene: better yet, I shall receive him naked! (she lounges, eyes aflutter, legs and bosom exposed – by her time period’s standards; in this production it means the blanket-robe is off).
Dario: any news about Statira?
Argene: still hates you.
Dario: oh, how cruel my fate etc.
Argene: well, there might be others who like what they see when they look at you (wink-wink, nudge-nudge).
Dario: that’s nice, but could you possibly talk to Statira again?
Argene: sure, I’ll do all I can. But first help me write a letter, all of a sudden – right about the time you stepped into the room – I became so overcome with emotion my hand has started trembling (wink-wink, nudge-nudge)
Dario: ok. Who’s this letter addressed to?
Argene (gets into his personal space): the man who has conquered my dreams. Write! My sun, light of my days (mega bosom nudge, power eyelash flutter) –
Dario (eyes popping, scoots away): My sun, light of my days… ok, next?
Argene: oh, I’m wasting away for your love! (mega nudge)
Dario: the man of your dreams must be very difficult indeed. Light of my days, oh, I’m wasting away for your love…?
Argene: you didn’t understand anything, did you?
Dario: on the contrary, I understood perfectly.
Dario: remember you said you’ll help me with Statira?
Argene (eyeroll): ok, enough writing. Go, go, I’ll write the name later.
In the meanwhile, Statira is worried about suddenly being pushed into the limelight.
Statira: Flora, what is this commotion all about?
Flora: Mylady, you’ll soon be queen!
Statira: hm. What does a queen do?
Flora: she wears a tiara!
Statira: that’s nice. What else?
Flora: she presides over public ceremonies!
Statira: eh, that sounds tedious. Anything else?
Flora (wink-wink): she does her wifely duties to the king.
Statira: but what are those?
Seriously. Was she raised by wolves? Clearly not, otherwise she wouldn’t be so scared when she gets to the woods. But talk about sheltered. And she’s the older daughter. Reminds me of that joke about the two pious virgins who got married and were still childless a year later (not for lack of trying).
Niceno, who’s supposed to be the token Arabian (nights) philosopher (must have a philosopher at the Persian court, right?), has poured all his emotions into a soulful and finely crafted series of letters to the woman who makes him sigh but who, he has a feeling, might not be returning his feelings. He finally plucks the courage to give Statira the letters. She really gets into the amourous atmosphere and reads aloud with pathos to wistful viola da gamba backing (I have a horribly sneaky suspicion this is a joke on emotionally astute but otherwise dim actors) only at the end to prove she has absolutely no clue about what he’s trying to tell her.
Hey, Mr Bookworm, didn’t you notice by now that she’s Miss Literal? So, in his desperation, though he has pined for her for who knows how long, he makes a terrible pact with Argene, who, apparently (it’s still wink-wink territory, blink and you missed it, though with Galou at the helm you most likely won’t) promises him she will sleep with him if he helps her break the not-yet lovebirds apart. If you can’t have one sister… the librettist’s commentary is clearly that no matter how intellectual or practical the man, none of them likes the smart sister (pfui! back to the kitchen) but will “work” with her if she throws something else into the pot. At some point whilst Statira is once again acting “blonde”, both Niceno and Argene turn to the bottle. That’s a bit like 2017.
Statira soon finds out what her future husband wants from her: her eyes, her hands. Very alarming! The man sounds like a right serial killer 😀 She has a stern/earnest sounding aria (quirky Vivaldi) about how she simply won’t allow that malarkey. Which plays right into the hands of the more practical Arpago and Oronte, who each boasts about their military or admin-y (oil pumping? there’s a dirty joke in there) exploits.
If you think the silly comedy can get tired after a while then more credit to Mingardo who remained funny even after we knew exactly what was coming. Also credit to Vivaldi who has a very clever way of putting silly and extremely catchy together with very beautiful.
After trying his luck in vain, Niceno defects to Argene’s side, “guiding” Statira by telling her each of these young men is worthy of her hand. She promptly promises her hand to both (I guess she quickly got over the fear of literally losing her hand to every man in the country 😉 ). This annoys Dario, who thinks she’s playing hard to get. He vows to take his anger out on his rivals. Now we know the cause of so many bloody battles through history.
Next comes Niceno’s badass bass aria with bassoon obligato (bullseye) along the lines of Tardi s’avvede. That is to say a “wise adviser aria”, in which Niceno cautions Dario that getting irate makes him appear less suave. The youthful looking Mr Bassoon did a solid job and I can assure you youtube doesn’t have a better version than Novaro’s, who has a somewhat similar type of voice to Galou (light but of high density).
I guess the Saudi connection is that Persia was the Saudi Arabia of its time. The Oracle is the West, who always somehow supports the winners in the area, though it pretends not to get involved. Astutely, then, neither the ones who have the oil nor the ones with the guns really win and whoever tries to stand up to the Oracle’s dictums will end up in the “harshest chains” (I really like that bit. Are they the kind with spikes on the inside?).
It only took me several listens and two live performances but I must say the libretto isn’t that bad after all!
On Sunday we made our way back to Piazza Castello, where we could already recognise some people as dressed for the opera. After soaking a bit of the very congenial atmosphere we went up to our box on the other side (left) of the auditorium. Interestingly, the door was locked. We tried other doors and it seemed hit and miss. We noticed others had similar problems, so we made our way to the auditorium to look for an usher.
Suffice to say we sat somewhere central, next to these very nice old ladies, who had upgraded too. This was the last performance of the run and there were empty seats scattered around the venue. But no more cameras.
The sound from the auditorium was very good on both nights, perhaps a bit better on Sunday, when we had prime location. We could hear every singer’s consonants. Finally we could see what we missed stage design-wise on the first night (quite a bit).
You might remember the poster that says “the best voices in Baroque for Dario“. It didn’t lie. Regardless of one’s preference for one singer’s tone or another, Dantone had assembled a gorgeous sounding team indeed. Vivaldi saw to it that everybody had their time to shine and the direction dropped the curtain behind all but the two main ladies to give them centre spotlight at least once and they took the challenge with gusto.
Mameli’s phrasing in particular rivaled the main ladies’, though her role is quite clearly written for “we need to give something to the soprano” reasons. Alinda is Oronte’s ex, who is – as ever in Baroque opera – stalking him and generally putting spanners in his works with amazingly precise timing. She’s stealthy like a ninja and her outfit fits the description.
One has to comment on their very toxic relationship. She’s, as I was saying, a stalker and he is very abusive towards her up until the very end (he even has an aria along the lines of “leave me alone with your fidelity, I’ve moved on”). Yet they are “happily” reunited. Of course, we are led to believe that he’s only discarded her because of his ambitions to the throne, but he is still extremely emotionally abusive throughout. You don’t want to be reunited with someone who’s done that to you. You also might want to stay away from people who are so needy as to take you back unconditionally after repeated abuse. [ / soapbox]
I wasn’t too into Cirillo’s voice until she had a slow (and a bit boring) aria with long lines. Those came out rather nice. Perhaps Oronte’s music isn’t quite that gripping, on top of his character being a selfish dick, so I didn’t get that much out of the whole thing beside said long lines.
There’s that bit of sparring roughly in the middle, between Arpago’s soldiers and Oronte’s techies, which I guess makes less sense in reality than in this production. It reminded me of the military parade in the Aix Tito in that the sparring people shout at every move. For my money it was a bit slow but entertaining enough, moreso because all involved were women.
I was – predictibly – more excited when Argene pulled a gun on Arpago at the end and then even turned it on Dario himself. That Dario just plucked it away was, as thadieu already mentioned, less climatic, especially since he had not, at any point in the production, looked like much of a warrior (rather like middle management). Pointing a flashlight at Niceno and repeating back his creepy words at him doesn’t quite count as heroism in my book. Then again, Argene was in love with him and Oronte was hardly helping with his getting cold feet over killing Alinda (why not just throw her in jail?).
Did I mention that Argene, after mistakenly revealing to Dario the plan to get rid of Statira (in a last ditch attempt to get him) decided to get Oronte on her side and as consort? Why not Arpago, the chap without a stalking gf is anyone’s guess (clearly Argene digs administrator types). But after bitching about Oronte and Alinda’s disfunctional relationship I can’t say that any two people in this opera have a healthy relationship, aside from perhaps Dario and Statira, who look like they they’ll work it out.
Thadieu was suggesting a different take on the ending rather than the floppy plucking of the gun. I also thought that Argene’s last line of recit – “Every crime has a punishment” – was one of those Captain Obvious moments that 18th century librettists liked to tack on the ending for moralistic reasons. I’d’ve done away with that and just gone into Ferri, ceppi, sangue, morte! The announcement about Galou’s indisposition ran on Sunday as well, but she amped it up for the last show of the run, with an appropriately desperate cry on the last (il mio) furror! And she was hilarious in this super scheming role. I don’t think I’ve seen a more persistent schemer yet, 80% of what comes out of her mouth is post truth fare.
So because thadieu has goaded me enough over the (last) weekend I’ve raked my brains for my own description of Galou’s voice – as I feel it. Thus far I basked in an ah, so smooth! cloud every time I heard her, unusually not needing further word-anchoring. But after the “beam of light” analogy I thought I agreed but not quite. Then I listened a bit and right after this version of Quel torrente1 it hit me:
Luscious mascarpone cheese layered with espresso-soaked sponge fingers, with a touch of cognac or brandy.
Also known as tiramisu. Light (weight) and dark (colour) and soft and heady (and often humorous). I think the way she approaches singing is more impressionistic than architectural/visual, so too much analysis won’t leave you any more knowledgeable than the moment it hits you (or doesn’t). The sound just brushes you in passing, disolves almost instantly and you’re not quite sure if you’ve imagined it or if it was real. For instance it this bit of Stabat mater the sound just envelopes you much like darkness itself would. It’s there but it’s kinda not. Very poetic. Then for a return to Vivaldi, just check out the smile in the voice and general impishness in this cutest of arias (Io sembro appunto quell’augelletto; my mum was right after all, it is birds and flowers/leaves 😉 ). The delay in posting this was partly due to my spending a fair bit of time fawning over this charming aria.
On that note we should perhaps move on to Mr Dario, sung here by Mr Belcanto Tito. Allemano’s larger (and darker) voice makes a fine contrast to the others and sets him apart as “big boss”, though the role itself is pretty congenial. He more or less waltzes in without fantastic credits like Arpago and Oronte and gets the throne with the help of personal charm (un bel viso) and a few good decisions, like the one where he pretends to take Argene up on her offer, simply to find out where Statira might be. Allemano’s not a bad actor at all, looking a bit dorky here and showing good comedic skills (especially when Argene is – unsubtly – trying to put the moves on him). He copes well with the coloratura demands and has that typical Italian tenor smoothness when it comes to languid arias.
Though affable on both days, the public was more animated on Sunday and they also applauded different arias (the Sunday crowd liked Galou better 😉 – her “instant double manipulation” moment got (very deserved) applause too, whilst the Saturday one really loved Tomasoni (I also thought her big aria was done especially flashy on Saturday); thadieu felt she was trying to steal the show but I think she was simply making the most of her time on stage, given she is very young. It would have been very difficult to upstage the main ladies, though the public – and pretty much everyone else – seems to adore Mameli; I’m not all that taken with her tone, though, like I said, her artistry is very fine. Everybody was happy with Mingardo on both nights, though I think the giggles were louder on Sunday).
A large bunch of people took a delibrate selfie with the big Dario sign. Just to the far side of the collonade was a couple of buskers who drew a pretty good crowd singing what sounded like vaguely traditional Italian music. In Piazza Carignano a chap was singing The Ring of Fire, which struck me as very odd after the opera, but there you go.
That was our first experience of seeing Italian opera in Italy. I hope they hang on to the Vivaldi Festival, as there are more good things to see from him and I – in case it wasn’t clear – I really liked Teatro Regio. Just not the far boxes. Sounds from the chat after the radio broadcast that there will be reasons to return, as the Baroque project is mainstay at Teatro Regio. Also interesting from the chat is what Dantone says about Dario‘s place in Vivaldi’s oeuvre, due to the ascendence of opera buffa. Though he thinks that Vivaldi’s operas are usually harder to stage (back then it was apparently left to the singers to improvise in opera seria), this one, because of the commedia dell’arte influence, is a lot easier. As we know, Vivaldi, though very successful in his youth, died in poverty, because of changing trends he couldn’t buck. Dantone also says he was happy with the Teatro Regio musicians who were interested in the language of Baroque, though their usual repertoire is the typical late 19th century fare… etc.
And, yes, this post better be posted. I might tweak it a bit in the coming days (too many pictures to choose from!), I spent to much time playing with that curtain call picture…
- not that I’m going to convince TADW who’s already decided to have her sing Cornelia. ↩
Thadieu and I arrived bright and early in Torino on 21 April, after a (very smooth) redeye flight that saw us leave the house at 4am. As per instructions, we went to the train station across from the airport. It was deserted, the ticket machine broken. We went back into the airport looking for another machine, as per the instructions on the broken one, but in the end it turned out the train wasn’t running (don’t ask me why, my operatic Italian only goes so far) and we got bus tickets to the rail replacement instead, with assurance the bus will leave us in the proximity of the Dora Station, where we needed to get in the first place.
But this is a commuter bus and you need to know when your stop is coming up. We, of course, didn’t. We followed it on Google maps but then, at an unknown distance from our stop, the bus made a right turn and crossed the river. Oops. We got off and made our way on foot, which wasn’t bad at all, and it took us to China Town and to that – apparently – famous and very large street market near the Duomo, to thadieu’s delight.
After a very welcome nap (yours truly slept like a hollow log, heard nothing, smelt nothing whilst the host cooked downstairs), we got some tips from our host and went out exploring. The theatre was comfortably close, right outside Regio Parco, through an ivy covered wall and up a short, curved slope. From the outside it looked like all the other buildings lining up the square – all with collonades facing Palazzo Madama. Inside, though, is a modern building. Much to our enjoyment, L’incoronazione di Dario was advertised in immense letters and in various posters.
We ventured into the box office and I picked up a leaflet advertising the local Vivaldi Festival. If there is a Handel Festival – several, in fact – it only makes sense someone somewhere should celebrate the Red Priest 🙂 hopefully every year?
From the leaflet I learned that Galou and Cirillo were singing Vivaldi and JS Bach’s Magnificats with Dantone and the local orchestra and that night!
thadieu: should they be singing three nights in a row?
dehggial: I guess they can!
Whilst we gently wandered around the square, I inched towards wanting to attend the show even if thadieu wanted to get back due to raging allergies and in spite of the fact that we only had one key. But I learned a valuable lesson: the box office closes at 6pm during the week so no greed for dehggial. We also realised they had a Juditha with lesser known singers (including a contralto who sang Holofernes, Abra and Ozias!) on April 19, part of the festival.
To ease the pain 😉 we went and got 2 flavour gelato (€2) and capped the day off with fluffy pizza at a place frequented by locals (suggested by our host). On the way back we marvelled at – and approved – the homely feel of the practical use of window and balcony space.
After a 12 hours sleep (thadieu due to jetlag/allergies, yours truly due to lack of sleep in general) and an amazing racket made by the host’s cat in one of those mad moods, we were ready for the opera! We got there with enough time to leisurely marvel at the venue (selfie time with… everything, but especially the doors, which are very clever and the giant sign advertising Dario – pictures when I get home and also at thadieu’s blog) and realise our tickets actually needed printing. That wasn’t an issue, the staff at the venue/box office were very nice.
We then got to our box – as you can see from pictures of the venue, there is an open plan auditorium and one level of boxes all around. The layout reminds me a bit of Opera Bastille. The views are good from everywhere in the auditorium but not from all the boxes. Namely, not from ours, because the orchestra pit is curved, so I don’t at all recommend the first 6 boxes on the sides, unless you particularly want to see the orchestra – you get the best view in the house for that, and we did make the most of what we had. This production added insult to existing injury by having the singer’s often sing from the back of the stage, so, for instance, Dario’s first aria came to us through the wall, which made for some guessing. We also missed some of the visuals, like late Cyrus’ portrait and half the action during the fight scene.
However, you know we’re always looking to upgrade and I spotted central seats on the row with the camera. Yes, there were cameras in the house so one can hope for possibly a TV broadcast? Ideally a DVD, but who knows how Italian houses do it. Considering the market is not saturated with Dario DVDs and Dantone believes in this cast… in any case, we successfully upgraded to the 8th or so row centre for the second half and we could then see and hear everything.
It would have really been annoying to miss the “contralto in the woods” aria, with Mingardo’s back and forth flights to the back of the stage, because it was absolutely hilarious. If you don’t know what I’m talking about, it’s the moment when Statira, having been tricked by her scheming sister, Argene, is imagining how beautiful the woods with the chirping birds will be when she meets Dario outside city walls. The aria repeats the A section several times and she keeps coming back to the centre of the stage, much to the annoyance of Argene and her paid help, who want her gone already. Suffice to say the aria showed off Mingardo’s artistry both in singing and with regards to comedy. I especially enjoyed a moment where she deliberately allowed the violin centre stage, having varied her dynamics in sorts of ways up to that point.
This is a good moment to mention that thadieu and I (along with Leander and Baroque Bird) saw a performance in London on the 20th, which left us perplexed by the conducting choices. So I was paying special attention to Dantone’s handling of a non-specialised orchestra with Baroque voices. Time and again it was clear that a very delicate touch did the job brilliantly, allowing the singers to vary their dynamics as needed, without being drowned.
However, remember that short convo thadieu and I had upon realising Galou and Cirillo were singing three days in a row? Well…
Teatro Regio announcer: Sra Galou has oversung but will still be with us tonight, just go gently on her.
So she’s not made of teflon, after all 😉 welcome to 40, Sra Galou. Only volume seemed affected, so upgrading helped. The coloratura was there, the silliness of course (Argene is very busy scheming, especially in part two, but all her efforts are thwarted, so she needs to be very resourceful) and the ravishingly beautiful tone as usual. I guess she could vary her facial expressions a bit, there is only so far mischievous winking can go – I say this myself as an abuser of said winking and veteran face puller. But this is an out and out comedy and she, along with everyone else, seemed to have lots of fun. I especially enjoyed the short aria where she manipulates both Dario and Statira and – of course! – the closer, Ferri, ceppi, sangue, morte!, when Argene, having been found out, is put in “the harshest chains” yet she boasts she’s not scared at all. We know she’ll be plotting away. Here was where a bit more volume would’ve helped with the shouts of “morte!” but still the legs to was beautiful (< that was autocorrect, but yes, legs indeed. Argene showed leg at every opportunity, not that anyone was complaining (except for Dario). What I actually meant was legato 😉 ).
I dind’t mind the costumes as much as I thought I would (but I will still bitch about them), though I didn’t understand why Cyrus and Niceno were dressed in Saudi garb, with the women in Gate of Ishtar attire, the army as guerillas, the Oracle in Western suit/PR clothes and Oronte, who’s the chief of Persian administration (so a Prime Minister of sorts) looking like the Captain of the Janitors. It’s especially amusing when Argene, in her sumptuous robes (blankets) asks Mr Janitor in fluorescent jacket and rubber boots to rule the empire alongside her. I guess that would assure special attention would be given to the local plumbing issues 😉 I also don’t think the piping/stage design made any particular statement, aside possibly from pointing to courtly internal machinations/more focus on Captain Janitor 😉 there were also lots of hanging curtains, some of each resembled he local Shroud suspiciously well, at least to my mind. I really admired the work put into the representations of Persian relief sculptures, though, again, the whole concept felt so scattered to me I didn’t particularly see need for them. For my money, the costumes (blankets) and filigree lamps gave enough suggestion of the era.
well, with Giulia’s explaination and after seeing it again, I have finally got the concept. More about that in the next installment.
So that’s it for now (more gelato and pizza after the show, of course). I know there is a lot I didn’t talk about – like more than half the cast – but this is due to the luxury of seeing two performances. I confess on occasion I was so focused on the orchestra/Dantone I had to sacrifice the attention paid to singers. For more impressions on this production, check out thadieu (this performance) and giulia (the premiere). There will be lots of venue (selfies included), town and maybe curtain call pictures when I get home, though as curtain call goes you’re better off with thadieu’s video for the feel of the place.
ps: sorry for any typos, the kindle isn’t made for writeups.
Sign of the times, eh? Someone landed on opera, innit? using this search term. Most curious, as I am 100% I never used it anywhere in this blog up to now and upon doing a bit or research I didn’t quite get it. But because it’s such a curious thing when it comes to a niche blog, I’ll indulge the world at large.
If you’re now thinking hang on a minute, this has nothing whatsoever to do with trump…! –
you’re right 😀 fighting absurdity with absurdity is one of my mottos. So I thought I’d share a picture related to contemporary grooming and snacking habits of those now bitterly crying in their
cornflakes jam jar cocktails.
We live in a world where both lefties and traditonalists wear Father Xmas beards, where experts (especially foreign) are out and the take back our country/make America great again brigade is in and saving the world from the overly educated (the great plague of 2016). Also, far as I know, sharing pictures of food on blogs is still going strong. So as not to appear too snobbish/sneering (also out of style), I thought I’d use this filler post to toast all the great trends of 2016 (or thereabouts).
(as usual) I’ll leave you with this month’s contralto and a message that expresses my feelings regarding the spectacular mess we in the West currently see ourselves in:
Ferri, ceppi, sangue, morte
non paventa l’alma forte,
che vien meco il mio furor.
So ch’io sono invendicata,
e che fui meno spietata,
è mia pena, e mio dolor
Google translate illuminates us thus:
Irons, shackles, blood, death (irons = swords)
no serious concerns regarding the strong soul (don’t scare a courageous heart)
who cometh with me my fury. (when it’s pissed off)
I know that I am unavenged,
and that I was less ruthless, (I was too soft)
is my pain, and my pain (so that’s my punishment and pain)
That type of cane shaking goes back to the 1600s? Haha. Probably beyond. But upon further investigation it’s just another Early Baroque nurse being cheeky (I have it on good authority that nurses are still cheeky, foul mouthed and) poking fun at young people nowadays:
Questi giovani moderni giocan sempre ad ingannar.
I lor vezzi sono scherni, che fan l’alme sospirar.
Questi giovani moderni giocan sempre ad ingannar.
Paion tanti Endimioni le zitelle in lusingar.
Ma se v’è, ch’il cor li doni, è una luna a vaneggiar.
Questi giovani moderni giocan sempre ad ingannar.
I think this silliness is a good end to a week of solid contralto/mezzo worship 😀 I should mention that today I put aside 3hrs of my time for L’incoronazione di Dario so you know I’ve been most serious about mezzo/contralto rituals. If there was a god and that god was a low tessitura female singer1, I’d’have payed for a lot of sins this week…
PS: how good does this stuff fit DG’s voice? I’d fall in love with it… if I weren’t besotted already…
- The thought alone is making me feel pious… ↩
What’s the first thing that comes to your mind when someone says contralto? For me it’s Vivaldi:
How awesome is this aria? “Awesomer” is only:
Whenever I hear these arias I really, really want to be a contralto myself, drop from acuti to the chest register and thrash things on stage as mad Orlando 😀
…but in all seriousness I’m just getting pumped for hearing Stutzmann sing some wrist-slashing Handel contralto arias (because, unlike Vivaldi, that’s what Handel usually gives his lowest voiced ladies).
😀 😀 😀
yea, nevermind the sound, it doesn’t do justice to either Galou or to the orchestra, but damn, that was the best Vorrei vendicarmi action I’ve seen so far! It also helps that her Ruggiero looks particularly puny. Clearly Morgana was the woman of taste in this production.
The best thing this past winter’s Handel double bill in Brussels/Amsterdam left me with was Delphine Galou. Intensity of interpretation in that Tamerlano aside, it’s safe to say that I am by now a bit more than infatuated with her tone:
And yes, Pergolesi, since next week it’s his take on Adriano in Siria at Cadogan Hall with Opera Settecento whom, you, gentle reader, might remember as rocking from my posts about Catone in Utica and Griselda. Dude, Pergolesi made his impact on the world by age 26.
Also yes, who doesn’t want to kick the presenter who butts in at 2m? I can tell it’s one of those 5min blink programmellos for our attention span blighted age, but still: shut up.
The music speaks for itself. I love the alto part, the harmony is way more fetching than the soprano part (I don’t mind Merad but every time Galou comes in it’s oh yea, especially her lacrimosa line). Ok, to be fair, the entwining of the two is ace. Remember: he was 26.
Here’s the duet again with Piau and Rousset/Les Talens Lyriques: