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Schoolroom Shenanighans.

In Baroque, Classical Music, Opera, Review on August 10, 2014 at 2:03 pm

Review – Rinaldo (Glyndebourne, Saturday 9 August 2014)

Rinaldo – Iestyn Davies
Almirena – Christina Landshamer
Goffredo – Tim Mead
Armida – Karina Gauvin
Argante – Joshua Hopkins
Eustazio – Anthony Roth Costanzo
A Christian Magus – James Laing
Sirens – Anna Rajah & Rachel Taylor

Director – Robert Carsen
Associate Director – Bruno Ravella
Designer – Gideon Davey
Lighting Designers – Robert Carsen & Peter Van Praet
Movement Director – Philippe Giraudeau

Orchestra of the Age of Enlightenment

Ottavio Dantone (Conductor)

Glyndebourne’s production of Rinaldo proves that with a star cast combined with a thoughtful approach by a director of the calibre of Robert Carsen, Handel’s operas contain the perfect balance of drama, tragedy and humour.

Who hasn’t endured a playground crush and wanted their rival vanquished?

In the lead role was Iestyn Davies, and following his outstanding performance in Rodelinda earlier this year, is there a countertenor to rival him in terms of his singing and acting performance? I dare say not. The quality of his singing is remarkable, combined not only with incredible technique but a flawless legato that enables him to convey every emotion with great clarity and emotional weight. After hearing him sing Dove sei? at the London Coliseum I didn’t think I would hear a more emotionally powerful performance of any aria, but the anguish he conveyed as he sang Rinaldo’s Cara sposa was heart-rending, and provided the first highlight of the evening. And he also demonstrated that he could as easily negotiate the more technically demanding arias that Handel wrote for his first Crusader, Nicolini. There was a thrilling bite and the necessary Handelian swagger in Venti, Turbini, Prestate and Abbruccio, avvampo a frema as well as that showcase aria Or la tromba.

Davies also displayed an innate sense in ensemble singing in the various duets. The delicacy of the singing of Scherzano sul tuo volto with his Almirena was beautifully matched by the teenage gaucheness of their actions. And I don’t think I’ve heard Rinaldo’s duet with Armida – Fermati! Oh crudel – not only performed with such verve but also a distinct sexual tension. Personally I’ve no idea why he chose Almirena over Armida.

As his nemesis, Karina Gauvin also demonstrated why she is one of the leading Handel sopranos. In the past I have voiced concern over her performances but here she was in stunning form, and clearly relished her schoolmistress-cum dominatrix as realized by Carsen. Her vocal agility in Furie terribili and Vo’ far Guerra, e vincer voglio – with Dantone light-fingered harpsichord concertante solo – was never in doubt but the sheer beauty and flawlessness of Ah! Crudel, il pianto was the second of three vocal highlights of the evening.

The third highlight of the evening was, from the start, inevitable. It always shocks me how quite suddenly Handel raises the emotional temperature in the Second Act of Rinaldo. Expecting, as Argante declares his love for her, for Almirena to launch into an aria of some fury, instead Handel writes one of his most beautiful arias ever – Lascia ch’io piangia. It might be somewhat common hackney’d but sung with such conviction and dramatic intensity as it was by Christina Landshamer at Glyndebourne and I am sure it wasn’t only me and my immediate neighbour who shed a tear.

And her bright soprano was a perfect foil not only to the Gauvin of Armida but also her beau, their voices melding perfectly in their duets. Her opening Combatti a forte immediately displayed that her lively voice was solidly grounded on strong technique, and the grace and delicacy of Augelletti che cantata was delightful while she confidently faced-off the inherent difficulties of Bel piacere e godere with aplomb.

Joshua Hopkins’ Argante found the perfect balance of arrogant king and – I am sure it was intended – pantomime villain. Vocally I would have preferred slightly more depth and darkness to his voice but it was a strong and well-defined performance.

Sadly, it’s difficult not to compare the other countertenors in the cast – Tim Mead, Anthony Roth Costanzo and James Laing – with the hero of the title. Tim Mead, who is Eustazio in the excellent DVD of the 2011 production and one of the only saving graces of ENO’s Giulio Cesare debacle, displayed secure technique and a honeyed tone, however first night nerves perhaps led to some untidy passage work and there were times when his voice didn’t project crisply enough. The same challenge faced the Eustazio of Anthony Roth Costanzo. It took a while for him to settle but he has a clear, bright voice and a real control of dynamic range which came beautifully to the fore in Siam prossimi al porto. Definitely a singer to watch in the future. Sadly James Laing was ill-suited to the role of the Magus. His voice was too thin and perhaps he invested too much in caricature and not his vocal performance.

And under the energetic direction of Ottavio Dantone it was hard to believe that this opera was Handel’s first opera he composed for London. There was an authority in his interpretation – not only in terms of tempo but also in the range of colours he brought out – that spoke volumes of his love of the music.

I know that Robert Carsen’s approach doesn’t please everyone, but personally I have always found his direction fresh and thought provoking.

And Rinaldo is no different, and he demonstrated the same attention to detail that have made his Carmelites and FroSch so memorable.

Here, he retold the story in a school and it was perfectly logical. Where else are the conflicts of both in love and rivalry more intense – and more keenly felt – than in the playground among emotionally-overwrought teenagers? And let’s face it, which of us when at school didn’t daydream in class about the demise of either a classroom rival or teacher?

And it was all beautifully observed and directed in revival by Bruno Ravella. Be it the gaucheness of a playground crush, the awkwardness of burgeoning friendships and even the sense of competitiveness. And perhaps I was the only one, but did I spy a series of hommages – intentional or not – to films as wide-ranging as ET, St Trinians and dare I say it, Harry Potter?

And the sets themselves never overwhelmed the narrative but seamlessly enabled the story to flow with a smart use not only of the stage but simple animation. And I can’t think of another opera where football has played such a seminal role.

And it is a rare director indeed who can manage to inject a sense of humour into Handel without it coming crashing down. But the deft way that Carsen delineated the characters, portraying them with sharply edged lines, enabled him to find that perfect balance of ‘fast and funny’ – slapstick almost – with duty and love.

In many ways, Carsen delivered the most cinematically-realised production of Handel I have seen without interfering with Handel’s incredible music once.

And with an incredible cast or singers and performers, it worked beautifully.

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  1. Maybe you could credit the revival director for this Rinaldo, Bruno Ravella, who did such an amazing job on this.

      • That was quick! Bruno was meant to be Associate Director but took over the revival when Robert Carsen wasn’t available. Hence the wrong information in the programme. I’m sure he’ll be pleased with the credit.

  2. […] role by John Tomlinson, most recently Covent Garden’s King Marke and Glyndebourne’s revival of Rinaldo demonstrated why Iestyn Davies is one of the most talented countertenors performing today. His […]

  3. […] BirminghamRinaldoReview – Der Rosenkavalier (Royal Opera House, Thursday 22 December 2016) […]

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