Tag: Baroque

Caroline Champy Tursun mezzo-soprano, Ensemble Baroque de Toulouse, Michel Brun
61:02

Click HERE to buy this on amazon.co.uk [digital only] – These sponsored links are the only way to support this FREE site.

This CD features Vivaldi’s Stabat Mater RV 621, sung by mezzo-soprano Caroline Champy Tursun, who also supplies a selection of arias from Bajazet, Giustino, Farnace and Orlando furioso, while the ensemble’s director appears as flute soloist in the flute Concerto Il Gardellino and the strings contribute the Sinfonia al Santo Sepolcro Rv 169. Recorded using a system called ECA in the Chapelle Notre-Dame-d’Alet, the performance is extraordinarily vivid – to my ear, unsettlingly so! As most of the orchestral playing is one-to-a-part and the default approach is distinctly ‘choppy’, I found the occasional legato sections, as in the slow movement of the flute concerto, a blessed relief, while much of Tursun’s singing was also pleasantly musical. The presentation of the package is distinctly odd – I still haven’t found a record label or a number, so have stated the group’s website in its place, although that doesn’t appear to be on the package either. The single CD is attached to the bottom of a box, which accommodates a huge folded sheet of programme notes, like a motoring map and for all its size only in French. Of course, this eccentric presentation need not put anyone off purchasing this CD, except that it is a reflection of the eccentricity of the performance, which seemed to go out of its way to distort Vivaldi’s music in a variety of ways. I have mentioned the persistent choppiness, and in the Sinfonia Al Santo Sepolcro a rather arch approach to the legato texture made this piece sound equally eccentric. Poor Vivaldi seems particularly open to ‘interpretation’, to the extent that it is quite unusual to hear his music given a good straightforward performance. It is probably true that Vivaldi is played too much, but rather than finding some new spurious approach to his music, why not turn to his less frequently played contemporaries? The present forces could easily have presented fine performances of these pieces, but seemed too intent upon being quirky.

D. James Ross

Motets by Hasse and Porpora
Clint van der Linde, Les Muffatti
69:07
Ramée RAM 2012

[Click HERE to buy this on amazon.co.uk. These subsidised links do not bring in a lot of money, but they do keep the site online and FREE!]

Loosely based around a ‘grand tour’, undertaken and recorded in a diary between 1713 and 1715 by one Corneille-Jean-Marie van den Branden, an aristocratic Netherlander, this collection of Neapolitan and Venetian music is of particular value for including first recordings of motets by Hasse and Porpora. Porpora’s Nisi Dominus is indeed housed in a collection in the archiepiscopal archives in Mechelen that has been linked to van Branden, having been presented by him to cathedral there. Scored for solo alto and strings, it must therefore be an early work. There are five movements, the second of which, ‘Vanum est vobis’ has an elaborate violin solo, while ‘Gloria patri’ springs a surprise by unexpectedly changing metre to triple time to carry the motet to a brightly exuberant peroration.

Of greater interest is the other first recording, a setting by Hasse of highly dramatic verses, Hostes averni (‘Foes roaring with infernal rage’), again set for solo alto and strings. The extensive opening aria reflects the text, a surging, driving movement with bravura writing for the singer underpinned by fierce scalic passage work for the orchestra. An intense accompagnato follows, this quasi-operatic motet concluding with a totally contrasted aria (‘Blanda in prata’) typical of the mellifluous sweetness that earned Hasse the soubriquet ‘il divino Sassone‘ in Italy. In addition to the premieres, Porpora is at his most beguiling in a Salve Regina (the opening is pure ecstatic balm), while Hasse’s Alma Redemptoris Mater attempts successfully in its ability to seduce the senses. Finally, to return to the Branden connection, there are two of Vivaldi’s brief string concertos, RV 154 in G minor and RV 136 in F. The traveller records being taken by Vivaldi to a concert at the Pietà.

The programme, then, is an interesting one, the performances regrettably less so. Clint van der Linde is a South African countertenor whose tone is generally pleasing, though upper notes have a tendency to be a bit hooty and intonation is not always completely secure. Where however he is ill-equipped for these works is the lack of technique to do full justice to works composed for virtuoso castrati. While passaggi are capably sung and cantabile lines nicely sustained, ornaments in general are poorly articulated and there is no trill, an absolutely essential piece of technical equipment in this music if it is to make its full effect. Perhaps most damagingly of all, van der Linde’s diction is so poor as to at times give the impression that he is singing vocalises. This lack of projection and clarity is critical in music that oozes the fervour and theatricality of the counter-Reformation from every pore. The neatly turned orchestral playing both in accompanying the motets and in the concertos is of a high standard, but in serious need of a shot of Mediterranean brilliance and colour. It reminds me of what we thought of as stylish Baroque playing before the best Italian groups wrested back their repertoire from northern Europeans.

In sum, if you mainly enjoy your music as background or in car the disc will make for a pleasing experience; if you look for something that probes more deeply then it may not be for you. But van den Branden’s travel diaries sound fascinating, a kind of Dutch Burney avant la lettre.

Brian Robins

Emiliano Gonzalez Toro, Zachary Wilder tenors, Ensemble I Gemelli
57:56
Gemelli GFA001/1

A Room of Mirrors is the initial release of the Gemelli label, which takes its name from the ensemble co-founded by Mathilde Etienne and Swiss tenor Emiliano Gonzalez Toro in 2018. He is one of the most stylish and accomplished singers of early 17th-century music, having underlined the point as the Orfeo de nos jours in the outstanding Naïve recording issued in 2020. In addition, Gonzalez Toro is one of the best singers of the haute-contre repertoire in French Baroque opera.

The title reflects the place played by mirrors, either in a literal or metaphorical sense, in early Baroque thinking, a topic explored in an interesting note by Etienne. She doesn’t mention the importance of the mirror as a familiar trope in Baroque opera and after listening to the CD it would be possible to expand her thoughts. For example, a number of the works here are duets in which Gonzalez Toro is partnered in exemplary fashion by Zachary Wilder, the prevalence of imitation introducing a form of mirroring of the voices. Then the opening track, the familiar and irresistibly catchy ‘Damigella tutta bella’ by the otherwise little-known Florentine court composer Vincenzo Calestani (1589-after 1617) has an first half that is mirrored by the final section as the ardent lover plied with the wine of desire becomes the over-satiated lover who has fallen out of love with the ‘damsel fair and pretty’, the damigella tutta bella. One of Gonzalez Toro’s great strengths as a singer of this repertoire is his ability to colour and interpret the all-important text and the subtle manner in which he contrasts the emotions of ardour and scorn is an outstanding example among many that could be identified in the collection. He revisits Orfeo in a setting of the eponymous hero’s ‘Dove ten’vai’ from act 3, scene 1 by another unfamiliar name, the Prague-born Francesco Turini (1595-1656), who spent most of his career as organist of Brescia Cathedral. Here set as elaborate duet, Orfeo’s rhetorical questioning is paradoxically answered by the second tenor in imitation. The most represented composer is Sigismondo d’India (1582-1629), a prolific composer of vocal music and, with Monteverdi, one of the leaders of the so-called ‘secondo prattica’. Unlike Caccini, d’India’s adoption of the modern style did not mean eschewing counterpoint and the rich dissonant harmony of the duet ‘Giunto alla tomba’, a lament drawn from Tasso’s Gerusalemme liberata, makes for one of the most intense experiences of the recital. A reminder that this was a period of experimentation comes with the extreme, even bizarre dissonance of ‘Intenerite voi’, one of several examples of a lover’s appeal to a haughtily insensitive young woman. Another form of mirroring comes with the judicious contrast of serious with lighter or even comic songs. Among the last named is Biagio Marini’s ‘La vecchia innamorata’, in which the singer contrasts the attentions of an ugly old woman who loves him, with the girl who ‘gives me pains’ in a manner that would shortly become familiar in many a Venetian opera. The comedy is brought off with consummate skill, as is the lavish ornamentation in Frescobaldi’s ‘Se l’aura spira’, perhaps the most graciously enchanting music in the collection.

In addition to the vocal numbers, I Gemelli – which here consists of a continuo group with pairs of gambas and violins, recorder and cornet – contribute extremely well-executed performances of several instrumental pieces, among them Dario Castello’s striking Sonata Quarta and d’India’ s ‘Langue al vostro languir’, for which since the text is published in the booklet comes as something of a surprise. An outstanding recording that serves not only to illustrate the richness of the repertoire but also enhance the reputation of Emiliano Gonzalez Toro and I Gemelli as being in the vanguard of its interpreters.

Brian Robins