Review – Che puro ciel (Wigmore Hall, Monday 23 May 2016)
Ann Hallenberg (Mezzosoprano)
The Orchestra of Classical Opera
Ian Page (Conductor)
Ms Hallenberg has a thrilling bottom.
Don’t get me wrong, she has a most magnificent instrument – her voice gleams at the top, she can deliver the most beautifully sustained singing and her technique, especially in terms of her coloratura, is second to none. And in terms of musical intelligence, this was a masterclass in period performance. Not an embellishment out of place, no extravagant ornamentation in the da capos.
But when she sweeps down to the low notes, the hairs on the back of my neck stand on end.
This recital, with Classical Opera at Wigmore Hall will be one of the most enjoyable and memorable concerts that I will undoubtedly attend this year. If not in a long time. Programme-wise, it was perfectly balanced – a combination of the unknown, the vaguely familiar and the instantly recognizable. But it all sounded so fresh, and so new that it sounded like we were hearing some of the music for the very first time.
Ms Hallenberg’s selections from Gluck – Il trionfo di Clelia, Paride ed Elena, Orfeo ed Euridice and Ezio – showed the full range of Gluck’s prowess and musical development. Opening with the bravura of Resta, o cara complete with messa di voce entry – a common technique to showcase the castrati of the day – Ms Hallenberg’s performance was beautifully poised with the coloratura delivered not as a virtuosity vehicle but wedded to the overall feeling of the aria itself. Similarly, Misero dove son … Ah, non son io che parlo might be better known as a concert aria by Mozart, but Gluck’s aria in the hands of Ms Hallenberg matched it note for note for dramatic intensity. Biting into each note, this performance was a fitting end to the first half. From Gluck’s ‘later’ operas – a sensitively performed O mio dolce amore – one of my favourite arias by Gluck and Che puro ciel. Ms Hallenberg’s performance had the requisite ethereal quality required, her phrasing and diction spot on. It’s a difficult aria – it is really an aria? – to carry off cold but this performance was exquisite. And bravi to the members of the orchestra who provided the chorus.
In the second half, Ms Hallenberg turned to Mozart. Personally I’ve not heard her in this repertoire but I hope that a recital disc is being planned. Ms Hallenberg effortlessly steered from the drama of Che scompiglio, che flagella written by 12-year old Mozart to the more flirtatious Se l’augellin sen fugge however it was the other two arias that were the highlight of the seconda parte if not the entire evening. The confidence and bravado of her Dunque sperar … Il tenero momento from Lucio Silla made for a flawless performance. The coloratura held no terrors for her and indeed her technique gave her ample space to elaborate even further in the da capo. But it was Sesto’s Deh per questo istante solo that personified the incredible talent of this singer. This aria epitomises the new direction that Mozart’s music was moving in just before he died – an even purer ‘classical style’ than he had achieved before. One can only marvel at what direction classical music would have gone in had he lived a while longer. Ms Hallenberg’s opening phrase – which I had forgotten was so exposed – summed up the entire evening – beautifully even and controlled, richly hued and resonant. Each phrase was perfectly placed, with the orchestra – who had played magnificently all evening – finding from somewhere the ability to meld even closer with the singer.
And the Orchestra of Classical Opera was indeed on top form. I’d dare say better than I have heard them in a long time. Their surprise was Kraus’ symphony in c minor. With its rich textures and it seemed copious independent viola writing, it made JC Bach’s g minor symphony beautiful as it is, seem almost like a ‘typical’ Eighteenth Century run-of-the-mill minor key symphony. No mean feat. And while accompanying Ms Hallenberg, clearly someone they love performing alongside, there was a real sense of partnership and enjoyment. So rare to see on the stage these days.
However it was the encore that sealed it for me. My money had been on Che faro – it seemed an obvious choice – but Ms Hallenberg surprised us all with Giordani’s Caro mio ben. The simplicity and innocence of her rendition – avoiding the all-too common pitfall of making this aria sound cloying – surprised everyone. For me, it she sang it as if, somewhere in the back of her mind, it held a particularly importance. It made it all the more special. A perfect end to a perfect evening.
I asked if Classical Opera would be recording this recital. Sadly not.
If it’s a case of economics, I am pretty sure it would be something that many people would more than happily help crowdfund.