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Handel for harpsichord and sorceress

You know how after you haven’t listened to music for a good while there’s that one thing you know you want to listen to? For some reason this was it.

Orgonasova was a very fine Handelian, was she not? Wish I caught her career.

Upcoming at ROH and Glyndebourne 2019

What with everything, I missed the Gen Sale for the return to Wagner at ROH (oh, no!). The Ring Cycle is back this Autumn, with Pappano at the helm. I may look up returns for Stemme’s sake (aka, best intentions). Otherwise, we have the following:

Solomon in concert with Zazzo in the title role

Verdi’s Requiem with Jamie Barton and Stoyanova; sold out at this point

Simon Boranegra… for those of strong Verdi constitution (but where there is Wagner, there is also Verdi and there will be another production for the hardcore Verdians soon; an opera we know and I love to make fun of, because a recent new production at ENO clearly was not enough)

Carmen and Hansel and Gretel for the mezzo-deprived; Dudnikova might be an interesting Carmen, I liked her Principessa de Bouillon.

Winter:

The Queen of Spades = must not forget

Traviata for the casual goer – it’s still the much loved production

Katya Kabanova – I’ll probably go

Cos√¨ returns but don’t count me in

Insights Masterclass with soprano Angel Blue who’s doing a stint of Traviata this season

Spring:

La forza del destino ūüėČ yep, that one, in Loy’s vision; with Trebs and the Alvaro of our times

Faust – hm, I might go, see how Damrau is holding up, PLUS it’s got Abrahamyan in her ROH debut (!) as Siebel (let’s all lament the fate of very good mezzos). On the downside, Ettinger conducts.

Billy Budd conducted by Ivon Bolton – the all male cast opera, let’s check it out…

Andrea Chenier – NOT with the Alvaro of our times but with Alagna and Radvanovsky! How can we resist that offer?!

Tosca with Opolais/Grigolo/Terfel but the last show brings Draculette back to her rightful territory so yay for those who care.

Summer:

Boris Godunov still with Terfel but without Ain Anger; so soon? Maybe because they were short of money for a new production…

Carmen, because we’d already missed her, this time with Margaine, and Pisaroni as Escamillo, ha!

Figaro after a couple of seasons, because there are only 3 operas and 1/2 by Mozart; this is the season with Kimchilia Bartoli as Cherubino but also unusually with Gerhaher as Figaro plus Keenlyside as the Count. You know it might actually be worth revisiting and weirdly enough, for the men.

La fille du regiment returns once more, now with Devieilhe, and Camarena will show us his 3283576 high C in a row. Then again, Pido conducts.

In conclusion, some interesting turns but generally a rather meh year ahead for yours truly’s taste.

Glyndebourne 2019

La damnation de Faust – a Richard Jones production, so it could be much fun

Rusalka – nah

Il barbiere – see below

Die Zauberflote – I’ll have to see it at some point, don’t know that this is that point; however, Agathe, David Portillo is Tamino ūüėČ

Cendrillon – usually a spectacular mezzo-mezzo borefest, now with DeNiese and the ever trouserable Kate Lindsey; I mean, they had to make up for the music…

Rinaldo with DeShong in the title role. A bit of a strange choice IMO, but to be honest I have not heard her live and in Handel to boot. I was proven wrong before.

Problem with the libretto? Swap the Saracens for popstars (Rinaldo)

Last night, thadieu and I sat through 6 hours of a Rinaldo mashup. The term wild ride applies.

Armida: Carmela Remigio.
Goffredo: Francisco Fern√°ndez-Rueda.
Almirena: Loriana Castellano.
Rinaldo: Teresa Iervolino.
Argante: Francesca Ascioti.
Eustazio: Dara Savinova.
Lesbina: Valentina Cardinali.
Nesso: Simone Tangolo.
Araldo di Argante: Dielli Hoxha.
Uno Spirito in forma di Donna: Kim-Lillian Strebel.
Mago Cristiano: Ana Victória Pitts.

La Scintilla Orchestra. Conductor: Fabio Luisi | Martina Franca

Now we know that Rinaldo was Handel’s most revived opera within his lifetime, the first opera he presented when he moved to London from Italy and his first mega hit that immediately established his reputation in London.

He revised it in 1717 and again in 1731:

Revisions, 1717 and 1731

The opera was frequently revised, most particularly in 1717 and in 1731; modern performances are usually a conflation of the versions available. Up to and including 1717, these changes had no significant effect on the plot. In the 1731 version, however, in Act 2 Armida imitates Almirena’s voice rather than assuming her appearance, and Argante declares his love to Almirena’s portrait rather than to her face. In Act 3 the marches and the battle scene are cut; Armida and Argante remain unrepentant and vanish in a chariot drawn by dragons before the conclusion.[23]

The opera was also performed in German in Hamburg to much success. Leo presented it in pasticcio form in Naples:

A pastiche of the opera, with additional numbers by Leonardo Leo, was presented by Leo at the Royal Court in Naples in 1718, with Nicolini singing his original role.[25]

This is the mashup we heard, though the Italian presenters insisted on calling it “Handel’s Rinaldo“, only occasionally mentioning that it also contained arias by Leo and others. Let me assure you it’s not quite Handel’s Rinaldo so it’s kind of annoying when it’s presented as such. But the whole thing was obviously legit and with Fabio Luisi at the helm so you have to think that we’re starting to see things differently now, especially these old skool operas (though I do remember things have been done to Fidelio recently and the less said about that Currentzis modification to a certain Mozart opera, the better). It looks like a trend, for better or worse. I personally find it’s trying a bit too hard, but I’m not so young anymore so who knows.

I think this was one of those productions where you had to be there. On the radio, sometimes the recits, done by secondary characters buffa-style (I felt like in a Pergolesi comedy), went on so long that when an aria I knew started I was almost startled. Do I care about Lesbina and some guy in Rinaldo? Do we want servants represented? I guess we do, but Rinaldo has a kind of specific focus. This woman Lesbina wasn’t even there in “Handel’s Rinaldo“, so why do we have to hear her mock (I guess – or was that the woman-spirit?) the main characters?

It can be said that Rinaldo‘s plot is problematic in today’s world because mentioning crusades and infidels isn’t done in cosmopolitan company. Well, fair enough, it’s one way of looking at it. For my part, it’s historical through a fantasy lens but if it has to be dropped from the rep because it’s not PC, so be it. We can do concert performances, seeing as how the music is still appreciated. I wouldn’t drop it but I wouldn’t make a big stink either about it if people were so offended by it.

What these people did was chuck the plot altogether and change all the characters to ’80s pop stars. In the main roles we have Freddy Mercury (Rinaldo), that annoying guy from Kiss (Argante), David Bowie and Elton John (don’t know who’s who in the opera and frankly I couldn’t care less) and two unidentified by me women as Almirena and Armida. One is in a big white dress with teased hair and the other is in a black dress, looking vaguely Goth. I leave it to ’80s pop fans to figure out the riddle, because to me it makes no sense. I didn’t even know Queen and Kiss had some sort of feud, if that is supposed to be reflected here. I think Queen was the sophisticated end of mainstream radio and Kiss was lowest common denominator frat party fodder.

So I guess they take the edge out of the plot and place the story in a conspicuously white-Western world cca 1980 – in order to make this cooler for today’s (opera going) public, which must be over 40, because I can’t see anyone under 40 care one way or another about Queen and Kiss, though Elton John is still present enough and David Bowie died cool.

But from the commentary during intervals I gathered thay wanted to make it more Neapolitan, hence I guess the Leo pasticcio. Which is ok and all, but don’t call it “Handel’s Rinaldo“, call it Leo’s Rinaldo pasticcio.

When we get to the actual Rinaldo stuff, that is pretty cool, though so diluted – like I was saying above – that it feels like hours have passed between Vo far’ guerra and Or la tromba, both of which are done with enough gusto (especially Or la tromba = you understand why there are contraltos in this rep; Vo far’ guerra was surprisingly understated, I suppose only the Barbican harpsichordist was let loose, though it would have so made sense to indulge in endless classic rock noodling in this production! Missed opportunity if there was one). Sadly, although I sat through 6 hours of it, I missed both Venti, turbini [edit: they cut it! They WHAT?! They cut Venti, turbini and they’re calling it (Handel’s)¬†Rinaldo?! Dude….] and Sibilar gli angui d’Aletto, which is a real miss, because how often do you hear a contralto Argante?!):

Role
(in singing order)
Voice type
(1711)[12]
Notes Premiere cast, 24 February 1711
Conductor:[19]
Ref.
Goffredo:¬†leader of the First Crusade. 1096‚Äď99 contralto¬†(en travesti) Tenor¬†after 1731 revision Francesca Vanini-Boschi [20]
Rinaldo:¬†a nobleman of the House of Este alto¬†castrato Written in soprano clef, now sung by a contralto,¬†mezzo-soprano¬†or countertenor Nicolo Grimaldi¬†(“Nicolini”) [20]
Almirena: daughter of Goffredo soprano Isabella Girardeau [20]
Eustazio:¬†brother to Goffredo alto castrato This part was eliminated before the 1717 revival, and is often omitted from modern productions Valentino Urbani¬†(“Valentini”) [20][21]
A herald tenor Bass¬†in 1731 revival “Lawrence” [20]
Argante: Saracen king of Jerusalem bass Contralto in 1731 revival, now usually bass Giuseppe Boschi [20]
Armida:¬†Queen of Damascus, Argante’s mistress soprano Contralto in 1731 revival, now usually soprano Elisabetta Pilotti-Schiavonetti [20][22]
Two mermaids sopranos Not recorded [20]
A woman soprano In some productions the woman’s lines are sung by a mermaid Not recorded [20]
A Christian magician alto castrato Bass from 1731 revival Giuseppe Cassani [20]
Mermaids, spirits, fairies, officers, guards, attendants Non-singing parts

I can totally see why you would also have a contralto Armida and how a dramatic soprano does justice to Furie terribili. Remigio (who, if I’m not wrong, has sing Vitellia, which is as dramatic as sopranos in this rep get) did a pretty good job of Armida in general. I might like her better on repeat listens.

So, it’s a trend and to me it’s a very whimsical one (read: hit and miss). But I wasn’t there and on the radio and without 100% Italian a lot was missed. On the other hand, now might be time to present the WS revised Alcina and Der Rosenkavalier.

Rinaldo: a story of love, battle and colonialism (Barbican, 13 March 2018)

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 J√≥zef OrliŇĄski 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 ūüėÄ 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¬†OrliŇĄski’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 OrliŇĄski 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 ūüėČ 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 ūüėÄ 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)

Late 2017, early 2018: Rodelinda at ENO and Rinaldo at the Barbican

photo credit: hdvdarts.com

Now that venues are posting their 2017-2018¬†offerings it turns out that ENO is bringing out their 2014 production of the beautiful Rodelinda¬†in Oct/Nov, whilst the Barbican is airing¬†Rinaldo on 13 March, with a few features from the Glyndebourne production – Iestyn Davies 1 in the title role and Pisaroni as Argante +¬†the addition of Jane Archibald as Armida. I have to say my ¬£15 was¬†for Pisaroni’s Sibilar gli angui d’Aletto. I hope the trumpets live up to the hype all the way to the balcony. I’m not sure about Rodelinda¬†(Io t’abraccio in English) just yet, I might pull a Partenope-move and book at the last minute if I can’t get it out of my mind long enough.


  1. He sang in the recent revival which I missed because he’s not Prina

Vivaldi, Darius and the Shroud of Turin

It’s official, thadieu and I have our tickets for the very silly¬†L’incoronazione di Dario at Torino’s Teatro Regio, where we’ll see this badarse cast under Dantone’s (who else? He loves this one) baton:

Dario, che viene incoronato re dei persiani tenore Carlo Allemano
Statira, principessa semplice, primogenita
di Ciro contralto

Sara Mingardo
Argene, sorella minore di Statira contralto Delphine Galou
Niceno, filosofo baritono Riccardo Novaro
Alinda, principessa di Media, amante
di Oronte soprano

Roberta Mameli
Oronte, nobile perfetto, pretendente
di Statira mezzosoprano

Lucia Cirillo
Arpago, pretendente di Statira soprano Veronica Cangemi
Flora, damigella di corte, confidente delle due
principesse contralto

Romina Tomasoni
Ombra di Ciro tenore Cullen Gandy

So we know the contraltos but what of the baritone? He was also in the original recording as well as at Festival de Beaune:

And here’s Sr Novaro singing not Vivaldi but spinning rather well on that horse statue:

Whilst scratching my no so cosmopolitan head regarding things to do in Torino other than watching contraltos and friends, a buddy reminded me of the famous shroud.

Jesus in the shroud, posing suspiciously like a medieval knight would

Why of course! Who wouldn’t want to see that? Except, upon investigation, it turns out that it’s not that often on display. 9/10 times you’re likely to see a copy. Which means you see a copy of a… fantasy. About right for the post truth era ūüėČ Though we hope all the above musicians show up in old skool real fashion.

…And the plastic chair shall be king

I’m not going to lie, I enjoy a good cliche when I see one (remember the Reactor of Doom staircase? I want one for my lounge). This blog would be more picture happy had we but media library space enough and time (or at least less laziness). Today I’m neither lazy nor pressed for¬†time, so –

I’ve noticed (regie) opera directors have a weak spot for plastic chairs. Here are some examples off the top of my head, although I bet¬†there’s much more (and even more compelling and statement-making) out there:

classroomR

Rinaldo (Glyndebourne) –¬†I think this one is the Granddaddy of them all, as it’s not simply chairs, but classrooms elevated to the status of compelling spaces. I’m iffy on the production but man, I wish Goffredo, Armida and Argante could’ve been summoned¬†in my history class! The Physics teacher¬†needed¬†some hissing angui d’Aletto¬†coming out of her drawer(s).

chairsId

Idomeneo (Theater-an-der-Wien) – the kingdom has gone bankrupt whilst Idomeneo was away so we’ve learned to make the most out of our chairs. Fear our metallic legs, Neptune!

lootersOE

Orphee et Eurydice (Munich) – Orphee and Eurydice surprise looters on returning home unannounced. Eurydice was so upset¬†with Orphee’s negligence, she decided to return to the Elysian Fields. Channeling¬†Offenbach.

So what did we learn? The plastic chair makes a compelling statement. Of some sort1.


  1. Earlier this week I went to see the Malevich exhibit at the Tate Modern (who doesn’t like the Black Square, eh?). One of the canvases was painted on both sides. Why do you think he did that? asked my ex and fellow art lover. Knowing Malevich’s cerebral bent, I pondered the endless possibilities. Hold on, my ex said, it says here he was skint. 

Somebody give that singer a mirror!

A good aria to cool down to after roaming the streets on a hot day in search of good photos is Venti, turbini. I was very amused – in a good way – by Pokupińá’s facial expressions:

By which I mean they are spot on. I can imagine Rinaldo behaving just like that.

Venti, turbini! Do my bidding!

Ever notice that calling on the help of the elements is a favourite past-time in Rinaldo? No less than 3 characters1 do so in grand style.

But let’s talk a bit about this bad-ass aria sung by our hero, one of Orlando furioso‘s great knights. Being as I am a big fan of bravura arias, I’ve heard a good number of renditions out of which three have stuck.

The contralto: It’s a classic so it goes first.¬†La Podles owns when it comes to mighty warriors2.

The countertenor: Slow and dignified; Lazzara does a great job.

The mezzo: And now for one of them downhill races Maestro Spinosi loves so much, warts and all. I like my singers fearless and surely DiDonato is3.


  1. Argante, Armida and Rinaldo. 
  2. I don’t know if she was too close to the microphone when this was recorded but I like this rendition a lot more than the one from 1990 when she sings vaaaenti instead. 
  3. Here is the cute story posted by the uploader in the info: “Joyce was taking over Marie Nicole Lemieux for this recital, the latter being unable to perform this night. She thus sang with sheets of music, and for this specific aria, she made a mistake while reading the score, having forgotten a page. She got lost, the orchestra kept on playing, and she looked at the public laughing and saying “I’m completely lost”. When the encore came, she said “Well, if you allow me, I would really like to sing this entirely!” So this is her 2nd shot :)”