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The beauty of colour in L’aure che spira

This is a youthfully angry, sharp and to the point aria, in which little Sesto fumes at the mouth against Tolomeo (he doesn’t deserve to breathe (the air)). Whilst re-reading a post of mine (I do that too 😉 ), I had a sudden need to re-listen. A few versions later I was bathed in the multitude of colours it allows.

Let’s start with Stutzmann, because I love her handeling of dynamics both in conducting and in singing. I feel this is a wonderful introduction to this aria, so typical of Handel’s writing of arias of fury (it’s not quite vengeance here; see Svegliatevi nel cuore for that). Also check out her moves at around 0:12:

(One of the iconic little Sesti of our time) Semmingsen with her bright(eyed) mezzo comes next for strong contrast. I’m not so sure about Mortensen’s conducting here; I feel the details are a bit muddled, though in the interest of characterisation – this is a very young Sesto – that might not be a bad idea:

Also a mezzo, but much darker, is Bonitatibus; always a strong Handelian (especially in troubled youth roles), it’s interesting to compare a dark mezzo voice with a true contralto:

And here we have another Jacobs take – a very speedy one – with Ernman at the forefront, unexpectedly catching my ear. This Sesto is a bit older or wilder than usual; if I were Tolomeo I’d keep my hand on the dagger:

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Summery Rossini (is there any other kind?)

I don’t talk enough about Rossini (and even less so about La cenerentola), so le’t rectify this a bit today:

Considering I think JDD owns this role, I was very, very impressed with Semmingsen’s extra playful approach here. Wonderful handling of that hair curling coloratura 🙂

So now let’s have Non piu mesta again, also in outdoors conditions:

edit: but since I’m of the moar mezzos mindset, how about Bartoli for the final?