Mozart. Thwarted.

Review – Idomeneo (Royal Opera House, Monday 3 November 2014)

Idomeneo – Matthew Polenzani
Idamante – Franco Fagioli
Ilia – Sophie Bevan
Elettra – Malin Byström
Arbace – Stanislas de Barbeyrac
High Priest – Krystian Adam
The Voice – Graeme Broadbent
Cretans – Tamsin Coombs, Louise Armit, Andrew O’Connor & John Bernays

Director – Martin Kušej
Set Designs – Annette Murschetz
Costume Designs – Heide Kastler
Lighting Design – Reinhard Traub
Dramaturg – Olaf A Schmitt

Royal Opera House Chorus
Orchestra of the Royal Opera House

Marc Minkowski (Conductor)

In a recent interview in The Times, director Martin Kušej – clearly attempting to annoint himself the enfant terrible of opera – commented that “with knowledge, respect — and with some freedom — we could really bring [opera] out of the 19th century”.

But take it where?

Judging from the new production of Idomeneo for Covent Garden, Kušej has dragged the genre kicking and screaming to the director’s equivalent of an abbatoir and taken a huge, bloody knife to its throat.

I have no problems with a modern approach to opera – I didn’t object to Kušej’s Forza in Munich, and other productions have been both challenging and immensely enjoyable. But this production of Idomeneo showed scant appreciation of Mozart’s opera or indeed any understanding of its provenance.

But a production is made more tolerable if the singing and the musicianship is of a high standard. Sadly, and despite the impressive line-up, I didn’t think that overall, it passed muster.

However plaudits must go most certainly to Sophie Bevan and Matthew Polenzani as Ilia and Idomeneo. Having enjoyed her Sophie, as the Trojan Princess, Ms Bevan once again demonstrated that she possesses a beautifully bright, light and flexible soprano that was perfectly suited for this role. And she combined a natural talent for Mozart with a real sense of characterization. Padre, germani, addio! caught the conflict that she felt and while Minkowski to Zeffiretti lusinghieri far too fast – where the zephyrs would have not so much caressed as buffeted any young lover – her technique allowed her to negotiate the rapid passages while conveying her love for Idamante.

As the Cretan King, Polenzani once again demonstrated his agile, richly timbred voice. Fuor del mar was thrilling, especially the da capo, and the cavatina with chorus, Accogli, o re del mar was spun with great delicacy.

Special mention too of the Arbace of Stanislas de Barbeyrac – who rightly received one of the loudest cheers at the end. I won’t even begin to fathom why he was dressed like an accordion-carrying-rambler, but his aria – with gently floated dynamics – made for a promising debut.

I am always in two minds about Franco Fagioli. There is no doubting that he has incredible technique and an impressive range, however, I was not wholly convinced by his Idamante. While he was relatively sweet-toned throughout the evening, here was a distinct lack of diction – as if he was swallowing his words rather than projecting them.

Similarly, I am not sure – after such a strong performance most recently as Donna Anna – if Elettra is a suitable role for Malin Byström. Sure enough – and despite some lack of co-ordination with the pit – Ms Byström could channel the vocal fury of the scorned princess, but she simply sounded vocally stressed in Placido è il mar.

In the pit, apart from a few faster-than-expected tempi, Minkowski brought to life the rhythmic verve and highlighted much of the orchestras detail within the score – especially in the ballet music. And while I was not always convinced by the exuberance of the continuo playing, it wasn’t as distracting as some I have heard.

But ultimately it was the production that dragged down this Idomeneo. This opera was written for a ducal court influenced by Enlightenment principles. The libretto reflected the idea of conflicted yet benign sovereignty and ultimately a burgeoning new balance in the order of things. I don’t dispute that the opera can be read in many different ways – but his vision of unremitting thuggery and violence simply isn’t in either the text or in the music.

What Kušej gave us was, quite literally, like shooting fish in a Personregie-barrel. Men rushing around carrying machine guns. Men in underpants being abused. Men dressed rockers. A pantomime High Priest. Children dressed in what can only be described as gym kit. Children carry guns. Fish. And even a shark. The only alleviation from the inanity of it all was the revolving set and what little characterization played out by the singers seemed to be of their own making – and mostly one dimensional.

I also didn’t buy his line about the ballet music only being “partially interesting”. Because, in reality his series of tableaux spoke more eloquently that the anything that preceded it. The enduring image that the “new order” was tainted, that the new generation would repeat the mistakes of the previous generation struck home was actually quite powerful.

It’s just a shame that his sense of narrative didn’t extend to the opera itself.

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Countertenorism

Review:
Arias for Caffarelli (Franco Fagioli, Il Pomo d’Oro, Ricardo Minasi)
Arias for Farinelli (Philippe Jaroussky, Venice Baroque Orchestra, Andrea Marcon)
Che puro ciel (Bejun Mehta, Akademie für Alte Musik Berlin, René Jacobs)

It’s almost like being back in the Eighteenth Century when castrati dominated both stages and headlines. Today there seems to be a proliferation of countertenors and there always seems to be a new recital disc being released.

Here are three very different – but inevitably connected – recitals by three of the current leading countertenors performing today. Two programme their recitals around famous Eighteenth Century castrati while Bejun Mehta builds his recital on a more academic approach.

Franco Fagioli takes as his muse the castrato Caffarelli on the heels of David Hansen’s excellent and similarly inspired recital. The two castrati were contemporaries and in the and in the eyes of some, rivals. Needless to say both were incredibly talented, inspiring composers to write some of their most beautiful or dazzling music. But where Farinelli was a ‘soprano’, Caffarelli was perceived to be more of a mezzo. And where the former was renowned for his kindness and grace, the latter didn’t seem to endear himself much to either singers or composer, patrons of the public.

But judging from the music Caffarelli was in possession of an incredible voice – wide in range and technically impressive. Indeed Grimm commented that his voice was so ‘angelic’ that even those “less sensible to music would find it hard to resist”.

So it’s disappointing that while Fagioli turns in some proficient performances, overall his singing lacks a sense of depth and definition. There are times when Fagioli resembles no one more than Cecilia Bartoli in the smoothness – indeed over-smoothness with little or no bite – in tone and timbre particularly in his delivery of coloratura.

That is not to say that his singing is anything less that technically secure. Throughout the recital in arias such as Hasse’s Fra l’orror della tempesta, Vinci’s In braccio a mille furie or Porpora’s Passagier che sulla sponde he throws off the coloratura with ease. And in the slower numbers while he does produce some very fine legato singing maintaining breath control is sometimes a challenge.

Ultimately there is a wont of vocal texture and colour, of piquancy that adds that unique timbre of other countertenors like the others reviewed here as well as David Hansen and Iestyn Davies.

However where Fagioli recital does stand out is in the arias by ‘almost unknowns’ and the playing of the orchestral ensemble. Like Joyce DiDonato in her excellent Drama Queens recital, Fagioli shines a light on composer who – despite their obscurity now – clearly had talent. A favourite of mine is Carfaro’s Rendimi pìu sereno. A Galant-style gem.

And the playing of Il Pomo d’Oro under Ricardo Minasi is magnificent – it has a bite and a vivacity to it that is infectious. Listen for example to their playing in In braccio a mille furie and you can hear the fury and swagger in their playing. And the soloists – for example the oboist in Pergolesi’s Lieto così talvolta – is simply ravishing. Indeed it is the playing of the ensemble that has made me return to this recital more than Fagioli’s singing.

Philippe Jaroussky – always a favourite performer of mine – has also opted for a recital built around one castrato and like David Hansen, he has chosen Farinelli. But he has refined it even further by focusing on a single composer – Nicola Porpora, teacher of both Farinelli and Caffarelli.

In complete contrast to the previous recital, Philippe Jaroussky’s performances are beautiful, confident and musically impressive. A criticism often leveled at composers of this period was the sheer length of the arias they composed all but stopped any sense of dramatic flow of the opera itself. Metastasian principles, the da capo format as well as that the fact that they were more often than not written to showcase the talents of specific singers made this inevitable. But quite frankly the level of inspiration in these arias and the high standards of musicianship personally negates this criticism.

As well as arias, Jaroussky performs a couple of duets with Cecilia Bartoli that only further reinforces the Bartoli-Fagioli resemblance and sharp difference between their vocal timbres. Placidetti zeffiretti with its delicate orchestration and limpid imitative vocal lines is simply affecting and the two soloists are meld their voices beautifully especially as their voices float unaccompanied in their improvisation just before the final cadence. The second duet – La gioia ch’io sento – is all together a more joyous – even cheeky – number with its delicate vocal and violin figurations and the middle section with its sudden dip into the minor demonstrates the skill of Porpora’s writing.

And clearly the arias alternative between arie di bravura and slower numbers. In the faster numbers Jaroussky displays an enviable ability to cut right through the coloratura while ensuring that each individual note of each run is clearly articulated. But his talent in singing the most legato of lines – even in these faster arias – is also brought to the fore as in the opening aria, Mira in cielo. It also highlights his ability to colour both individual notes and whole phrases both in terms of dynamic control as well as employing subtle mezzo voce techniques. Come nave in ria tempesta continues to display Jaroussky’s bravura technique but it is Nell’intendere il mio bene which is the album’s coloratura tour de force.

Of all the slower arias it is Alto Giove that shows Jaroussky at his best and comes incredibly close to replacing Simone Kermes’ performance of this – Porpora’s most beautiful – aria. His stunning technique – both in terms of breath control and dynamic range makes this preghiera the highlight of the disc. However arias such as Si pietoso il tu labbro and Nel già bramoso petto demonstrate that Porpora was a master of the more ‘troubled’ affections of his characters.

The lilting siciliana of Le limpid’onde, with its flute and oboes adding depth to the orchestral texture, shows Porpora at his pastoral best. And above this, the countertenor weaves the most beautiful legato vocal line.

With the plangent oboe solo of Orfeo’s Sente del mio martir, you really can feel the torment of the singer who enters masterfully and ethereally. And Dall’amor più sventurato shows that Porpora could keep up with the more ‘modern’ Galant style that was quickly gaining a foothold in the operatic world.

And if you purchase the recital on iTunes it seems that you get a twelfth aria – and the only one with an accompagnato opening. Oh Dio! Chi sa qual sorte … Giusto amor. Taken from the serenata Gli orti esperidi, Porpora underpins the delicate vocal line with a fine cello obbligato.

It’s a fitting end to a remarkable recital disc that demonstrates that Jaroussky remains pre-eminent among his countertenor peers. And throughout and never less than expected, the Venice Baroque Orchestra led by Andrea Marcon provide bright, crisp and incisive accompaniments.

The final disc – by Bejun Mehta – takes a more ‘academic’ path. Taking as their starting point the operatic reforms instigated by Gluck and his some-time librettist Calzabigi, Mehta and Jacobs explore the search for a greater ‘naturalism’ in opera, reflecting polite Eighteen Century society’s search – all be it most of the time heavily sanitized – for the same thing. Think Marie Antoinette and her ‘farm’ at La Petite Trianon for example.

Featuring extracts from Hasse, Traetta , JC Bach and Mozart, it inevitably opens with Che puro ciel from Gluck’s Orfeo. Personally there is no greater evocation in this period of a desire to get ‘back to nature’. The orchestration alone must have made the chattering audience sit up and listen. But the vocal line – almost conversational and certainly more declamatory than the audience would have been used to – seals this as possibly one of the most beautiful ‘arias’ of the period.

The arias drawn from his opera Ezio, written in 1750 and then revised post Orfeo in 1763 don’t quite achieve the same sublimity of the previous piece. Pensa a serbarmi – an elegant Galant minuet – demonstrates Gluck’s skill at creating emotional momentum through the carefully built phrasing, but even he can’t avoid gentle coloratura to underline the emotional weight of the text. And Se il fulmine sospendi cannot escape the fact it is it to all intents and purposes your typical Metastasian simile aria albeit a beautifully crafted one.

Similarly the single contributions from Hasse and JC Bach hint at a move to a new style but not necessarily ‘naturalism’. The former’s Dei di Roma, ah perdonate! from Il trionfo di Clelia is a belt-and-braces Hasse aria for example. And the same can be said of JC Bach’s accompagnato No, che non ha la sorte … Vo solcando un mar crudele from Artaserse. An emotive recitative – foreshadowing those written by Mozart in his own opera serie – leads into a thundering aria with roulades aplenty, again hinting at influences on the younger Mozart.

With the selections from Ascanio in Alba and Mitridate, the brilliance and new sense of excitement that Mozart breathed into this dying genre are evident.

Vadasi … Già dagli occhi il veto é tolto from Mitridate, written when Mozart was 14 is remarkable for its musical and emotional eloquence both in terms of the orchestral writing and colour and the simplicity of the vocal line . Even at that tender age, Mozart could write music of such grace and elegance compared to those that had either preceded him or were his older contemporaries.

Perché tacer degg’io? Caro, lontano ancora from Ascanio in Alba was written a year later and show quickly Mozart’s musical style was developing, culminating in Lucio Silla only another year on in 1772. The accompagnato explores a gamut of emotions and resolve with the music echoing the character’s changing emotional state. And while the ensuing aria might lapse into a typical da capo aria it’s the way Mozart handles both the vocal line and the orchestral writing that against sets it above similar arias by JC Bach and Hasse.

And yet the most thrilling performances on the disc are those of Traetta – in my opinion a sadly neglected composer. The extracts from Antigona and Ifigenia in Tauride demonstrate the composer’s talent at creating dramatic tableaux. Take Antigona for example, written for Catherine The Great in 1772. The fury of the orchestra in Ah, se lo vedi piangere and the urgency of the vocal line not only hints at Gluck but in some ways look forward to Mozart’s Idomeneo. The gentility of Ah, sì, da te dipende with its graceful writing for flutes, has an almost Mozartian (granted early) lilt to it. Indeed I would hazard that it could easily be inserted into any Mozart opera seria and most people wouldn’t notice.

But it’s Dormi Oreste! that is the real jewel on this disc. Written in the same year as Gluck’s Ezio was revised and only a year after Orfeo it’s an amazing piece of writing – vocally, chorally and orchestrally.

The choral opening definitely harks back to Gluck and a more ‘pastoral feel’ but how quickly this is dismissed. The skills of the choral writing and the underpinning orchestral palette – especially at the section “Vendetta” – is thrilling and the soloist’s first entry pares back both sound and colour with dramatic effect before the chorus interrupt again. The ‘middle” section – an aria with cello obbligato is nothing less than noble – with an emphasis on a more declamatory style, with any coloratura such as it is at secondary to the quest for emotional impact. The chorus returns only to be stopped in its tracks by the plaintive cries of the soloist before finally it hurtles to its thrilling conclusion.

On the disc, nothing more than Dormi Oreste! typifies the quest for ‘naturalism’. which lies at the heart of this incredible recital.

Someone needs to record Ifigenia in Tauride immediately.

Central to the success of this very carefully constructed recital – which strikes the perfect balance between academic curiosity and music making of an incredible standard – is Bejun Mehta, Akademie für Alte Musik Berlin and René Jacobs. Mehta – who’s dusky countertenor is in fine form throughout, thrilling in his coloratura as much as in his elegant and measured legato singing, blending colour and dynamics together with the greatest skill – might be the vocal focus throughout but the level of musicianship, the enthusiasm of each and every performance are as much to the credit of the Akademie players and chorus and René Jacobs.

If you had to choose just one disc to listen to from these three – and pace Philippe – it would have to be this recital. It’s thrilling. It’s intelligent. And it reveals what an underrated genius Traetta truly is.