lietofinelondon

Handel – With Care (Wednesday 25 May @ The Barbican)

In Classical Music, Handel, Opera on May 25, 2011 at 11:20 pm
  • Ariodante: Joyce DiDonato
  • Ginevra: Karina Gauvin
  • Lurcanio: Nicholas Phan
  • Dalinda: Sabina Puértolas
  • King of Scotland: Matthew Brook
  • Polinesso: Marie-Nicole Lemieux
  • Odoardo: Sam Furness
  • Il Complesso Barocco & Alan Curtis)

Alan Curtis and Il Complesso Barocco are one of the leading – if not the premier – original instrument ensembles at the moment. Their recordings of Handel’s operas are second to none and Curtis always assembles the strongest and most distinctive case.

The evening’s concert performance of Ariodante– part of a promotional tour for the new recording that they have just released – was no different. A quick glance at the cast – with three leading baroque specialists in the lead roles – meant that on paper it could not disappoint and in reality it exceeded expectation.

Ariodante has never been one of my favourite Handel operas. I have – like many people I think – enjoyed individual arias from the work, but previously the opera as a whole has not appealed. I can safely say that after this evening’s performance that has changed. I will be listening to their new recording of the opera with renewed interest.

Joyce DiDonato is a superlative, intelligent and charismatic performer. I first saw her in Hercules at the Barbican theatre in 2006 and – I must admit – have been a fan ever since. Her voice is beautifully round, robust and even through her whole – and extensive – range and she throws out pin-point precise coloratura. And her dynamic control, of light and shade, is always well judged. It is breathtaking how she can simply float a high note as was demonstrated this evening.

But what sets  DiDonato apart from many of her colleagues is how she inhabits the character she is singing. And tonight was no different. A stunning performance throughout, with a real sense of intelligence and insight of the lead character but for me – and I think many people in the auditorium – the standout moment was Scherza infida. Of course this is the most famous aria in the opera, and in Handel’s entire operatic output, but tonight was truly special. From the recitative immediately preceding, as Ariodante she was a broken man. Not only in her acting – and indeed she seemed to almost shrink into herself – but even how she modulated her voice into what can only be described as sobs. It was a searing interpretation and the whole audience seemed to collectively hold its breath until the final bar faded.

Yet this aria was merely the highpoint of an outstanding performance. Through every aria, from the pastoral arioso Qui d’amor nel suo linguaggio, the menacing Tu preparati a morire in the second act to the final, thrilling Dopo notte atra e funeste, with its perfectly executed, show-stopping bravura, DiDonato portrayed a character going through every emotion in the book.

Yet unlike many performances where one singer stands alone, this performance of Ariodante was different. DiDonato was one of a sterling team of singers.

Karina Gauvin as her spouse, created a Ginevra who was as human as her hero. Again from her opening Vezzi, lusinghe, e brio to her masterful final scenes of the Second Act, Gauvin delivered an amazing performance. Before the audience she went from princess-in-love to princess-on-the-edge, and made even her most difficult coloratura seem effortless and she spun her silvery voice around the notes.

And whenever DiDonato and Gauvin sang together, their voices blended perfectly.

Yet for me, the most pleasant surprise of the evening was Lemieux’s Polinesso. In her swagger it immediately reminded me of Kassarova’s Ruggiero from a recent performance of Alcina. With a rich, velvety voice Lemieux revelled in her character, again alternating between throwing off brilliant and effortless coloratura and beautiful legato phrases. Dover, giustizia, amor was particularly memorable. Indeed, this evening I have returned home and downloaded her latest album – Ne me refuse pas – Airs d’opéras français – and cannot wait to listen to it.

And what made each of their performances seem even more vital and alert was the incredible attention they paid to diction.

The rest of the cast, Matthew Brooks’ King, Nicholas Phan’s Lurcanio and last-minute stand-in, Sam Furness as Odoardo were all very good. Sabina Puértolas as Dalinda was a completely new singer to me. Her bright, light and flexible soprano was a delight and I look forward to hearing her again.

Needless to say Alan Curtis and Il Complesso Barocco were exemplary in their support of the singers. Special mention must be made of the horn players who acquitted themselves more than admirably.

It is clear that Curtis is unrivalled in his understanding of, sympathy with and interpretation of Handel’s music. Tempos were perfect and the recitatives flow naturally.

I read in the programme that Giulio Cesare, Arianna in Creta and Agrippina are listed as future engagements and I, for one, cannot wait.

But this evening definitely belonged to the ladies. And the audiences showed their grateful appreciation.

Thank you one and all.

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  1. […] Karina Gauvin and Marie Nicole Lemieux brought a musically stunning concert performance of Ariodante to London in May. Curtis’ troupe recording all of Handel’s opera – Giulio Cesare is next in […]

  2. […] Enjoyment Assured. 2. Review – Prima Donna. Vivaldi Arias (Nathalie Stutzmann & Orfeo 55) 3. Handel With Care Share this:ShareDiggFacebookRedditStumbleUponTwitterLike this:LikeBe the first to like this post. […]

  3. […] to love this recital disc as much as I have loved previous recordings by Ms Gauvin as well as her live performances. But after repeated listening – and I am sure I will return to it again and again – all […]

  4. […] granted it takes a singer of the calibre of Ms DiDonato supported by the excellent Il Complesso Barocco under Alan Curtis to make this […]

  5. […] Hello. I am LietoFineLondon and I am a DiDonato-holic. […]

  6. […] is surprising. While it doesn’t have the grandeur of Giulio Cesare, the dramatic sweep of Ariodante or the emotional pathos of Rodelinda, Imeneo is a real gem. Individual arias appear occasional on […]

  7. […] having seen her live as well as possessing both her recital and complete opera recordings, I did notice that while the […]

  8. […] his nemesis, Karina Gauvin also demonstrated why she is one of the leading Handel sopranos. In the past I have voiced concern […]

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