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Recording

Handel: Serse

Emily D’Angelo Serse, Paula Murrihy Arsamene, Daniela Mack Amastre, Lucy Crowe Romilda, Mary Bevan Atalanta, Neal Davies Ariodate, William Dazeley Elviro, English Concert, Harry Bicket
172:38 (3 CDs in a card triptych)
Linn CKD709

One of Handel’s last operas written against the backdrop of the collapse of the London operatic scene, which precipitated the composer’s inspired switch to the composition of oratorios, Serse fell victim to its circumstances receiving only five performances in Handel’s lifetime. If this reflected the tumultuous finances of the company presenting it and perhaps a perceptible decline in performance standards as well as the changing taste of the London public, it certainly had little to do with the quality of the music Handel had composed. Remembered now primarily for Serse’s opening aria, the exquisite Ombra mai fu, this is a work like so many others composed by the mature Handel, rich in originality and masterly music. Having mentioned this opening aria, I should probably address my main reservation about this account – the role of Serse, taken by the irascible and temperamental castrato Caffarelli in the original run, is here sung by the mezzo-soprano Emily D’Angelo. While she sings very expressively and musically, the decision not to use one of the excellent male alto singers currently available is baffling and changes the character of the eponymous hero. No reference is made to this odd decision in the performance notes, but I’m afraid it had a major effect on my enjoyment of this recording. Having said that, the singing from the first-rate line-up of soloists and the chorus is wonderfully expressive, while the orchestral playing is superlatively supportive, responsive and beautifully crafted – particular mention should be made of the orchestral trumpet playing, which is not just punchy punctuation but beautifully phrased and tastefully lyrical. Harry Bicket has a wonderful way with Baroque music, and his reading of this rich score is exemplary. The revival of the fortunes of Handel’s operas is something which has happened largely in my own lifetime, but this recording of Serse emphasises that this process has still some way to run. I was ashamed and appalled that the bulk of this excellent music was completely unknown to me – there is simply so much excellent Handel lurking in the less familiar operas and oratorios that complete recordings such as this are extremely valuable. David Vickers’ fascinating programme note makes the unexpected and valuable observation that a connecting line can be drawn between these late operas of Handel and the late-18th-century opera buffa of Mozart and his contemporaries. In the middle of the physical and mental breakdown which accompanied the collapse of Handel’s operatic aspirations, it would have been some consolation to him to know that the opera condemned to such a short run under his direction would go on to enjoy such a fruitful and well-deserved afterlife.

D. James Ross

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Festival-conference

The Innsbruck Early Music Festival and Haydneum Festival, Eszterháza

Although principally undertaken on opera duty, brief successive visits to two European early music festivals also allowed time to take in a chamber music concert in both venues. While the Innsbruck Early Music Festival is well-established and familiar to early music enthusiasts, that at the palace of Eszterháza, Haydn’s principal place of employment for thirty years, is not. Despite a somewhat isolated location that caused Haydn to complain of feeling cut off from the world, I suspect that it being the home of the Haydneum, a centre for early music recently established on the model of the Centre de Musique Baroque de Versailles, will soon result in it having a higher profile.

The first stop was Innsbruck, where the evening after a triumphant first performance of Graupner’s Dido, Königin von Carthago festival-goers were transported up to Ambras Castle, a Renaissance jewel situated above the city. It is there that the majority of the festival’s chamber concerts are given in the spectacular Spanish Hall, that on 26 August being devoted to an intriguing and well-designed programme featuring two composers that at one time or another in the early 18th century might have contributed to making Innsbruck a rival to London. Handel (represented by his Italian cantata Il duello amoroso) seemingly rejected the possibility of employment in Innsbruck, but Mannheim-born Jacob Greber (d. 1731) having failed spectacularly in London did not, becoming Kapellmeister in Innsbruck in 1707. On the evidence of the three cantatas presented, he was a competent if not especially inspired composer, here unkindly cast into the shadows by Handel’s infinitely superior work. In addition to the vocal works, the programme included chamber works featuring recorders by two other German immigrant composers working in London, J C Pepusch and Gottfried Finger.

The vocal performers were the soprano Silvia Frigato, and the French (despite her name) mezzo Mathilde Ortscheidt, a past prizewinner of Innsbruck’s prestigious Cesti Competition and a singer who recently much impressed me in Cimarosa’s L’Olimpiade at Versailles. The instrumental works and support for the singers were provided by members of the Akademie für Alte Musik, Berlin. Without being entirely sure of the reason, the concert came over as a rather flat. Was it perhaps a hang-over from the remarkable Dido of the previous day? Both singers sang well enough, although Frigato’s tone sounded at times shrill and thin. By contrast, Ortscheidt produced a rich tone and some impressive chest notes, but neither appeared sufficiently involved in communicating texts or producing interesting embellishments. Much the same might be said of the instrumental playing, which was as competent as would be expected from such an eminent ensemble but rarely arrested the listening ear.

What was missing was vividly illustrated five days later in the course of the concert given by the Capricornus Consort Basel in the magnificent and beautifully restored Apollo Room in the palace of Eszterháza. The instrumental works included the fine B-flat Concerto (no 2) from van Wassenaer’s set of Concerti Armonico and three works by F X Richter that provided a pertinent reminder of just how excellent a composer he is. The only vocal work in the programme was the sacred cantata Il pianto di Maria by G B Ferrandini, Venetian-born but long employed in Munich. At the conclusion of the text, a scribbled note of mine reads, ‘good on one level but there is another’ and indeed the singing of mezzo Olivia Vermeulen seemed curiously uninvolved for such a searing text, underscored as it is by painful chromaticism. Chromaticism emerged almost as the keyword of the programme, nearly all the music being inflected by it, sometimes heavily. This feature induced a strong emotional response in the shape of technically accomplished and fully committed playing from the Capricornus players. However, they also produced playing of delightful lightness and great delicacy in the second movement of Richter’s Trio Sonata in A minor, op 4/6 and some affecting cantabile playing from the muted strings in the second movement of the B-flat Sinfonia, VB 59. It was overall a concert that provided an immensely satisfying conclusion to my mini tour of festivals.

Brian Robins

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Recording

Mozart: Bastien & Bastienne | Pergolesi: La servante maîtresse

Adèle Carlier, Marc Scoffoni, David Tricou, Orchestre de l’Opéra Royal, Gaéton Jarry
89:15 (2 CDs in a card triptych)
Château de Versailles Spectacles CVS105

The pairing of these two pastoral operas in this latest release from the performance series at Versailles Palace is not just a stylistic decision – performances of a parody of Pergolesi’s intermezzo La Servante Maîtresse in Paris in 1752 established the important strand of Italian opera in France, inspiring Rousseau to write Les Amours de Bastien et Bastienne, taken up as a German libretto by the young Mozart. As a homage to this Parisian milieu, both operas are performed here in French. They rely on a lightness of touch in their musical settings. Mozart uses flutes, oboes and bassoon to enrich the orchestral colour, as well as a pair of horns to enhance the rustic atmosphere, and the subtle interaction of orchestra and voices, the hallmark of his later operatic masterpieces is already evident here. Lovely, neat playing from the period instruments of the Orchestre de l’Opéra Royal injects great charm and energy into this performance, while the three principals characterise their roles well beyond the two-dimensional. Neither of the plots even flirts with profundity, but from the pens of such masters as Pergolesi and Mozart we have beautifully crafted melodies, exquisitely scored, which are very well sung and played here. Listening to the Pergolesi, the less familiar work from my point of view, and a piece more often referenced than performed, it is easy to imagine the stir it caused at these Parisian performances in 1752. This frothy bucolic fare is the perfect foil to the often rather worthy French operas of the time, and it established an attractive alternative which would co-exist with the indigenous musical culture. What I had not noticed before hearing this fine performance in French is the extent to which this 1754 parody of Pergolesi’s original intermezzo (La serve padrona) is in turn influenced by French opera. In addition to presenting both works in fine, well-crafted performances, this version has done us a very useful service in juxtaposing them in performance.

D. James Ross

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DVD

Robert Gleadow (bs), Arianna Vendittelli (sop), Florie Valiquette (sop), et al, Ballet, Choeur & Orchestre de l’Opéra Royal de Versailles, conducted by Gaétan Jarry
184:00
Versailles Spectacles CVS115 (DVD & BlueRay)

This video stems from performances of a new production of Don Giovanni given by the Opéra Royal in the ravishing 18th-century court theatre in the palace of Versailles in November 2023. Generously both a DVD and a Blu Ray disc are included in the package; I viewed the DVD. Having been present on the opening night, I’m disappointed that on my admittedly not-wonderful TV, the picture of the stage is considerably darker than it was in the theatre. Of course, much of Don Giovanni takes place at night or least evening so that is to be expected to some extent but this stage picture frequently lacks clarity. The set itself, unchanging but for backdrops that aid in identifying the action as interior or exterior, is a town square in roughly star shape, the buildings including a couple with galleries for such scenes as Giovanni serenading Elvira’s maid. In general, it all works well, though the Commendatore’s statue turning up on Elvira’s doorstep seems a little incongruous.

The delightful multi-hued and busily decorated costumes owe an obvious debt to the commedia dell’arte tradition and interestingly both the Don and Leporello wear near-identical clothing, maybe as a suggestion that the latter is merely a more plebeian copy of his master. The link with commedia dell’arte was also apparent in the direction by Marshall Pynkoski, whose stated intention had been to make the piece fun. And indeed much fun was elicited, notable for the sheer exuberance and dynamism of such numbers as Leporello’s ‘Catalogue’ aria (although would he have behaved toward Elvira with quite that degree of familiarity?) or the finale of Act 1, which also benefitted from the spirited choreography of Jeannette Lajeunesse Zingg. Yet paradoxically the scenes that remain lodged in the mind are some of the more dramatic and serious moments. The supper scene, notoriously difficult to bring off convincingly, is outstandingly done, the swirling silvery mists around the magnificently authoritative statue of the Commendatore chilling in effect. Less commendable is the decision to allow the raucous laughter of the Don to have the final word. It contradicts the ultimate message of the opera, articulated in the words of the final ensemble: ‘This is the end that befalls evildoers’.

That the opening scene has a thrilling dramatic verve, can be not least attributed to the strongly projected Donna Anna of Florie Valiquette, who also responded to the recognition that Don Giovanni was her father’s killer with an accompagnato and succeeding aria ‘Or sai chi l’onore’ with real intensity and thrilling tone. In act 2 ‘Non mi dir’ and its preceding accompagnato bring another special moment, an oasis of stillness in the midst of manic activity. The Elvira of Arianna Vendittelli was also a performance of outstanding quality, culminating in a ‘Mi tradi’ that, with its preceding accompagnato brought another scena of interior and touching quality, a revelation of the vulnerability of a woman hopelessly in love.

The performance of Robert Gleadow as the object of that love, his first Don, occasions a more mixed reaction. Characterful and strongly and securely sung, Gleadow’s  Giovanni projects a predator of animal energy. It was much in keeping with the kind of Don most producers tend to encourage these days. Yet it is a creation that not only overlooks the fact that Don Giovanni is a nobleman, not a slob that puts his feet on the table when eating dinner but, equally importantly that Francesco Benucci, the singer for whom Mozart created the role, was renowned for the finesse and grace of his singing and acting. Interestingly, when Don Giovanni was repeated in Vienna (it was of course written for Prague), Benucci sang Leporello; it is easy to imagine Riccardo Novaro’s outstanding Leporello stepping into the Don’s shoes. As indeed also applies to Jean-Gabriel Saint Martin, whose richly rounded Masetto was a revelation, one of the best I have seen. A more general observation regarding the singing is the tasteful and appropriate decoration added. Not the least aspect of the generally favourable impression of the cast was the manner in which it responded to Pynkoski’s long experience as a director who seeks to work with gesture and historically informed theatre, much in evidence in the highly effective groupings of the ensemble numbers – the production of the great act 2 sextet was a special highlight in this respect.

It is sad to have to report that amidst this truly excellent performance a large fly lurked in the ointment. In his fine book on the birth of conducting, Peter Holman has convincingly argued that the piano never superseded the harpsichord as a continuo instrument, yet opera conductors continue to employ it. Yet rarely can the piano have been put to such damaging use as it is here, where trite teashop tinkling pervades not only recitatives but at times also the orchestral texture, most ludicrously in the Don’s canzonetta, ‘Deh, vieni’, where what is supposed to be his mandolin accompaniment enters into a forlorn duel with the fortepiano.

Notwithstanding this blot on the performance, this was a splendid achievement all round, thoroughly enjoyable and insightful. Although not always in full agreement with Pynkoski’s work, I do admire without reservation the rare integrity he brings to all he does. This Don Giovanni is no exception.

Brian Robins

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Recording

Gluck: Echo & Narcisse

Le Concert Spirituel, Hervé Niquet
102:19 (2 CDs in a card triptych)
Château de Versailles Spectacles CVS095

The excellent Versailles Spectacle concert and recording series brings us this intriguing recording of Gluck’s last opera, Echo and Narcissus, a light pastoral which turns out to be of much more significance than first appearances would suggest. As a result of a mixture of bad luck, bad timing and bad casting the work was a comprehensive failure at its first performances, much to the chagrin of its composer, who clearly felt it deserved a better reception. On the basis of this delightfully understated performance, I can see why Gluck was so frustrated by its lack of popular success. Not always known for understatement, on this occasion Niquet has astutely cast the piece with appropriately light voices and allowed the music to speak for itself. One particular virtue of the work is Gluck’s imaginative orchestral writing, making particularly imaginative use of horns and clarinets. He also largely succeeds in his aim to blend the French and Italian operatic styles – the ‘extras’ are given music with a light Italianate charm while the central characters’ more profound music recalls the music of Rameau – while you would have thought the generally undemanding musical idiom and the episodic nature of the piece would have appealed to the short musical attention span of the French court in 1779. None of these virtues nor even the patronage of Marie Antoinette herself would save the work from failure and obscurity until it was ‘rediscovered’ in the 20th century. The precise and tasteful playing and singing of Le Concert Spiritual bring this little gem to vivid life, and while the positioning, with the chorus and soloists onstage and the orchestra down on the flat tends to flatten out the orchestral colours a little, the overall sound and balance are pleasing, and the acoustic of the Opéra Royal de Versailles provides just the right amount of resonance, reflecting the sound Gluck would have been writing for. It was probably much too late for the self-obsessed and hopelessly superficial court of Louis XVI and Marie Antoinette to learn any valuable lessons from Gluck’s pastoral – in any case, Gluck never returned to opera in the last decade of his life, while just a couple of years after his death the entire edifice of the French Court was swept away in revolution. In many ways, the innocent simplicity of Gluck’s Echo & Narcisse evokes a whole era of French music, part of a culture blissfully unaware of its shortcomings and the gruesome fate that awaited it.

D. James Ross

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Recording

Charpentier: Médée

Véronique Gens (Médée), Cyrille Dubois(Jason), David Witczak (Oronte), Le Concert Spirituel conducted by Hervé Niquet
170:43 (3 CDs)
Alpha 1020

It is nearly 50 years since William Christie’s first recording of Marc-Antoine Charpentier’s Médée (harmonia mundi) vividly illustrated that French Baroque opera meant more than Rameau and the occasional nod in Lully’s direction. Since then Médée has become firmly established and acknowledged not only as Charpentier’s operatic masterpiece – though I would argue that David et Jonathas (1688) should be considered its equal – but one of the peaks of the repertoire.  First performed at the Paris Opéra (Académie Royale de Musique) in 1693 it was one of the first operas given there after Lully’s monopoly was ended by his death six years earlier. Despite the presence of Louis XIV at the premiere, the opera was not a success, receiving ten performances before being withdrawn and not revived until the 20th century.

Cast in five acts with the usual prologue, Médée is a tragédie en musique that for once lives up its genre, a feature that may have some bearing in its contemporary unpopularity. By the end of the opera not only are Créon, King of Corinth and his daughter Créusa, the new amour of Jason dead, but in her fury at Jason’s treachery the sorceress Médée (Medea) has committed filicide. Yet it is measure of the quality of Thomas Corneille’s libretto that far from being simply an irredeemable villain poisoned by jealousy, Médée emerges as a deeply ambivalent character driven to madness by the ingratitude of Jason. The picture becomes more opaque still if her earlier services (the Golden Fleece) to Jason are taken into account. And it is more than just the text, for Charpentier gives to Médée not only music that is highly dramatic but in her act three air ‘Quel prix mon amour’ the most touchingly beautiful music in the score. Musing on whether she should murder her sons, the product of her love for Jason, also give momentary relief from the derangement from which Médée  now suffers, her servant Nérine a little earlier having spoken of her ‘Eyes staring wildly, her steps unsteady’. The role is one tailor-made for Véronique Gens, one of the great tragediennes of our day and a singer to compare with the creator of the role, Marthe Le Rochois, the creator of all the leading female roles in Lully’s tragedies lyriques and who was considered without parallel for her mastery of the declamatory styleGens’s mastery of the role ranges from the imperious in the infernale scene at which she is at her most powerful, displaying some awesome chest notes, to the sheer, pure beauty of her singing in the air noted above.

Her errant husband is given a poor hand by comparison, at his best in the tenderness he displays toward his new love Créuse, its cynical political implications drowned out in the exquisitely sensitive music Charpentier gives the couple in their scenes together (act 1, sc 5 and act 4, sc 2). The experienced Judith Van Wanroij (the cast listing spelling is used in the heading but here the more usual spelling is adopted) is at her best in this kind of gentle heroine role and here she is utterly engaging. There are, too, few finer stylists in haute-contre heroic roles than Cyrille Dubois, though here the fast vibrato that is a part of his voice does occasionally threaten to be a distraction. The only other significant role is that of Creon, which asks for little more than Thomas Dolie’s richly authoritative baritone until the great scene in which he is made mad by Médée (act 4, sc 8/9). Then considerable vocal acting powers are called upon, a demand met admirably by Dolié. 

Among smaller roles baritone David Witczak’s Oronte, the deposed suitor of Créuse, should be noted, as should the enchantingly fresh soprano of Jehanne Amzal in several comprimario roles. Her singing of the Italian air included in the act 2 divertissement is one of the delights of the set. Hervé Niquet’s direction of the prologue, the customary panegyric dedicated to Louis XIV with Glory, Victory and Bellone (goddess of war) doing the honours, is curiously – if arguably understandably – briskly uninvolved. Thereafter it improves significantly without ever becoming one of his finest achievements. Notwithstanding the set is required listening for all Gens’s many fans, who will also encounter a great opera and much excellent singing.

Brian Robins 

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Recording

Charpentier: David & Jonathas

Clément Debieuvre David, David Witczak Saul, Edwin Crossley-Mercer the ghost of Samuel/Achis, Jean-François Novelli Joabel, Jean-François Lombard Pythonisse, Natacha Boucher Jonathas, LesPages et les Chantres du Centre de musique baroque de Versailles, Orchestre Les Temps Présents, directed by Olivier Schneebeli
122′ (2 CDs in a CD-sized book)
aparté AP342

David et Jonathas owes its existence to the tradition of the Jesuits of the Collège Louis-le-Grand in Paris staging plays and musical dramas during the course of carnival season. It dates from 1688, when it was staged between the acts of a now-lost spoken drama. It should be recognised that it is an opera, not an oratorio and as such has a framework familiar for the tragédie en musique, that’s to say a prologue and five acts. Only the relative brevity of the work, with less importance attached to the divertissements and fewer dances than usual mark it out as unusual in that respect.

As was widely recognised from its first performances David et Jonathas is a powerful masterpiece. It is indeed one of the great pieces of late 17th-century French theatre, apparent from the outset of the prologue, which to the best of my knowledge is unique in being a part of the action. In concerning itself not with the usual royal panegyrics but rather with the visit of Saul to the Witch of Endor (Pythonisse) and the fateful utterances of the ghost of Samuel, it provides an introduction to the drama that will unfold, drama culminating in the final tragedy of the deaths in battle of Saul and his son Jonathan. Yet because the opera has a didactic purpose its ending is not tragic, but rather a brilliant paean of praise to the victorious David, the man who remained obedient to God’s laws, in contrast to the defeated Saul, who has not. More importantly still, the opera is an investigation of human relations on a psychological level rare in opera of this period, specifically the complex love between Saul and David, and those of the brotherly love between David and Jonathan. At their heart are the great monologues given to all three, their lyricism again a distinguishing feature of an opera in which récitatif plays a smaller than usual role.

In 2022 the opera was given a superlative production and performance in the Chapelle Royale at Versailles, a highly appropriate venue given its original commissioning by the Jesuit fathers of the Collège Louis-le-Grand. That performance has already been issued on CD and DVD on Versailles Spectacles. The set to hand was made live at Versailles, but was a concert performance given in the Opéra Royal the previous year. Ironically it is this performance that seeks to come closer to the original 1688 performance than the staged production in the Chapelle by using a children’s choir for the upper voices and a child for the role of Jonathas, though in this instance a girl rather than a boy. The present performance also almost certainly comes closer to the original performance at the Collège by using considerably smaller orchestral forces, although the playing of the somewhat oddly-named Orchestre Les Temps Présents (it is a period instrument band) is excellent. Also giving a hint of the context of the Jesuit performance is the inclusion of brief spoken 17th-century ‘déclamations’ placed as introductions to each act and, especially movingly, immediately after the death of Jonathan. Thus rather than a play serving as the context, the spoken word provides interludes to a music drama.

One of the features of David et Jonathas is that in contradiction to the title, the leading character is neither Saul’s son nor his much loved David, but the king himself, his tortured soul revealed in a manner and to a depth rare in Baroque opera. The role is here taken by bass David Witczak, heralding the overwhelmingly searing and insightful  characterization he brought to the role just over a year later in the Versailles production. David is sung by contre-ténor Clément Debieuvre, an alumnus of the CDMBV. His voice is lighter and more youthful in timbre than that of Reinoud Van Mechelen, whose assumption of the role was one of the glories of the production. Since the biblical David was young, some may feel Debieuvre’s sensitive if less authoritative performance is more authentic, but there’s no gainsaying Van Mechlelen’s authority. There is of course no valid comparison between the respective interpreters of Jonathas, but the sweet-voiced Natacha Boucher achieves an immensely touching degree of sensitivity in the events leading up to his death (act 5).

The remaining smaller roles are all well filled, with the experienced Edwin Crossley-Mercer a resonant Ghost of Samuel (in the prologue) and Achis, Saul’s general.

There is no question that David et Jonathas is one of the masterpieces of Baroque opera. The story is dramatic, Charpentier’s music magnificent. And like all masterpieces, it is capable of responding to alternative approaches. This version – orientated as it is toward its original college production – is in any event very different to the magisterial Versailles recording. Both have a more than valid place in the catalogue, as indeed does the earlier Erato set under the direction of William Christie.      

Brian Robins

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Recording

Monteverdi: L’Orfeo

Le Concert des Nations, La Capella Reial de Catalunya, Jordi Savall
109:06 (2 CDs in a card triptych)
Château de Versailles Spectacles CVS080

This series of recordings, made in conjunction with live concerts at the Palace of Versailles, presents exciting new artists an revisits memorable milestones of authentic performance – the present recording belongs to the latter category. Jordi Savall’s presentations of Orfeo in the early 2000s with the principal role played by Furio Zanasi and the role of Musica unforgettably taken by Savall’s late wife, Montserrat Figueras, are remembered fondly by all of us lucky enough to see a live performance, and it was transferred very successfully to CD. This time the role of Orfeo is taken by Marc Mauillon, and like Zanasi before, he combines a stunning technique with a believable dramatic presence. It is good to hear the famous virtuoso aria “Possente spirto” sung with such complete technical assurance, but also with bravura – perhaps not since the legendary account by Nigel Rogers have we heard so many of the incidental notes in exactly the right places, and indeed Mauillon’s voice is reminiscent of Rogers’ distinctive timbre. Here and elsewhere in the opera, Mauillon succeeds in articulating the eye-watering degree of ornamentation without allowing it to interfere with the dramatic sweep of the music. This is a remarkable account of this extremely demanding role! The clearly generous budget of the Versailles concerts allows musical directors to indulge themselves, and Savall fields a lavish instrumental team, probably many times larger than anything Monteverdi could have mustered but providing a superb range of textures, and en masse a rich and impressive sound. This is matched by a capable and splendid vocal chorus, while an equally impressive line-up of other soloists animates the multiple distinctive solo roles. Savall’s earlier productions featured him sweeping down through the audience to his instrumental ensemble for the overture clad in a Magus’s cloak, and he has lost none of the old magic in what is much more than a revival of his earlier account of Monteverdi’s masterpiece. He has brought a lifetime of experience to bear on this remarkable piece, and has mustered an ensemble of all the talents to allow him to realise his vision. A final virtue of the Versailles Concerts CDs is their lavish presentation, and this release is no exception with a richly illustrated booklet including an intriguing essay by Jean-François Lattarico and background details about all the participants.

D. James Ross

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Recording

Monteverdi: Il ritorno d’Ulisse in patria

Christina Fanelli Amore, Lauranne Oliva Giunone, Fortuna, Emőke Baráthe Minerva, Rihab Chaieb Penelope, Alix Le Saux Ericlea, Mathilde Etienne Melanto, Philippe Jaroussky L’Humana fragilità, Anders J Dahlin Pisandro, Philippe Talbot Eumete, Zachery Wilder Telemaco, Emiliano Gonzalez Toro Ulisse, Fulvio Bettini Iro, Álvaro Zambrano Eurimaco, Anthony León Anfinomo, Giove, Nicholas Brooymans Tempo,  Antinoo, Jérôme Varnier Nettuno, I Gemelli, conducted by Emiliano Gonzalez Toro
177:00 (3 CDs)
Gemelli factory GEFA006

Emiliano Gonzalez Toro’s Monteverdi Orfeo won high praise from me when it was released on Naïve in 2020. He has now turned his attention to Il ritorno d’Ulisse in patria, Monteverdi’s penultimate opera, first staged at the Teatro San Giovanni e Paolo in Venice in 1640 to a libretto by Giacomo Badoaro. The set is the first to be issued under the name of the ensemble founded by Gonzalez Toro and artistic director Mathilde Etienne, who is excellent in the role of the lascivious maid Melanto. It is an extraordinarily lavish affair issued in book form, with the English edition consisting of 234 pages printed on high-quality paper. There are no fewer than five major articles including an interview with Etienne and Gonzalez Toro and a highly speculative piece peppered with inaccuracies (San Cassiano, Venice’s first public opera house was not purpose-built for opera but adapted from an existing theatre and so on) on the history of Monteverdi’s operas and their supposed debt to the commedia dell’arte, Orfeo excepted. Nowhere are the considerable doubts that surround the attribution of Il ritorno even mentioned in the interview or the other articles. On a practical level the libretto, the most essential bit of literature for most people, is paradoxically printed in a smaller – and in English lighter – font than the articles, making it difficult to follow.

The lavish presentation seems to be of a part with that devoted to the production itself, which was recorded over a 23-day period, an astonishing amount of time these days. The cast list, too, speaks of generous support for the project, with no fewer than 17 different singers to cover 20 roles. Furthermore, four very brief scenes that were not set by Monteverdi (or any collaborator he may have employed) have been composed especially, that for Nereids and Sirens (act 1, sc 3) being particularly appealing. It might seem, therefore, that the scene is set to report another great success to set alongside the I Gemelli Orfeo. And indeed there are certainly things to commend, but Il ritorno is not Orfeo, which poses relatively few problems to a director if they follow the composer’s beautiful printed score – a rarity for the period – and detailed instructions as to instrumentation. While Orfeo still has slightly more than one foot in the Renaissance, ll ritorno is an unashamedly Baroque opera posing all kinds of problems that need solving by anyone mounting it.

It is the failure to provide satisfactory answers to two of the most important of these questions that to my mind mars this set considerably. The first concerns instrumentation. Gonzalez Toro has gone for a large orchestral body of some 30 players, far exceeding the pair of violins, bass and modest continuo most authorities accept is the norm for mid-century Venetian opera. As Gonzalez Toro makes clear in the interview he is well aware that his orchestra is not historically accurate, rather lamely suggesting that since the first score of the opera to be re-discovered was in Vienna, where the court employed a sizable number of instrumentalists, the work may have been given there. There are in fact two good reasons for the modest scoring of Venetian operas of this period. The first is practical. The explosion of interest in opera in Venice (and subsequently elsewhere) resulted in a number of new opera houses being built in Venice. Invariably they were small and we know from surviving designs and images that the ‘pit’ (often an inverted shell-like structure) would have been incapable of housing more than some half-dozen instruments comfortably. The second is the more important because it concerns the nature of operas of the period, which relied heavily on the heightened recitative or recitar cantando, songs or more lyrical passages being only occasionally introduced. Such writing, as is the case with the later plain recitative that evolved, needs only the support of the continuo bass. To add fuller instrumentation to vocal writing risks obscuring the all-important vocal line. That’s what happens here far too frequently. For a single example from among many go to act 1, sc 5 and 6, where first Neptune is swamped by sackbuts, then Jupiter is drowned out by cornetti not just playing but adding agile improvisation that ensures it is impossible to hear what the god is singing. Certainly there is no prima le parole, dopo la musica here and it is surprising to find a musician with Gonzalez Toro’s experience with this repertoire making such a fundamental error.

Equally as surprising is that he chose for the critical role of Penelope – Ulisse’s long-suffering wife – a singer who had never previously performed Baroque repertoire. Rihab Chaieb is a young Tunisian-Canadian mezzo who has been making waves in later repertoire – go to YouTube and listen to her beautiful, glowing voice soaring in Richard Strauss. But the casting experiment fails disastrously. Much of the role lies just under what I would guess to be the ‘break’ in her voice, where there is little colour and none of the dramatic personality the role requires. Both in the opening monologue and the final reconciliation with her husband, this Penelope misses point after point and is not within hailing distance of the superlative performance by Lucile Richardot in the Versailles set under Stéphane Fuget, a set I have described elsewhere as setting new standards of performance for this repertoire.

Let’s turn to what is good. The set is directed by Gonzalez Toro with a keen awareness of tactus, which means he obtains a fluent flow with plenty of scope for flexibility within the beat. To hear this at its best, listen to Ulisse’s opening monologue (act 1, sc 7), where the warrior awakes, finding himself on a beach after the Phaeacians are shipwrecked. Here the stream of thought and reaction is brilliantly echoed through the constant screwing up and subsequent release of tension. Throughout the tenor’s singing and portrayal of the role is as outstanding as his Orfeo; if less spectacular than that achievement that is only because the role itself is.

It is not my intention to minutely detail every singer’s performance, not least because some of the singing is more than acceptable without being especially notable. This is no doubt because of the director’s declared belief that additional ornamentation to that already provided by Monteverdi is not required. Given the poor articulation of some of what there is, he may be right, but it contributes to some rather featureless performances. Among those that are certainly not featureless are the bright, lively Minerva of Emőke Baráth, the Antinoo and Tempo (Time) of Nicolas Brooymans, the Anfinomo and Giove of Anthony León and the ripely comic Iro (which is a true commedia nell’arte) of Fulvio Bettini). Also commendable is the splendid madrigalian singing of the suitors in their trios of act 2, sc 13 and the choral passages generally.

So much has gone into the making of this set that it seems churlish to conclude by reiterating that it is flawed by what are in my view two serious errors of judgment. Admirers of Gonzalez Toro (of whom I count myself as one) will certainly wish to hear it, but for a general recommendation the recording cannot compete with that of Fuget.

Brian Robins

Categories
Recording

Saint-Georges: L’Amant anonyme

Haymarket Opera Company, conducted by Craig Trompeter
170:31 (3 CDs)
Cedille CDR 90000 217

The Afro-French composer Joseph Bologne, Chevalier de Saint-Georges was born in Guadeloupe, then a French colony, around 1745, the son of a local mother and a wealthy planter and nobleman. Little is known about his earlier life other than that he received an all-round education befitting his status. This included not only music but swordsmanship, at which he became one of the most noted exponents of his day. Again we know little of his musical training but he was a fine violinist, good enough to take over the directorship of Gossec’s orchestra, Le Concert des Amateurs in 1773, three years later unsuccessfully attempting to become a leader of the Paris Opéra.

It is as an instrumental composer that  Saint-Georges is today best remembered, but he also composed four (and possibly more) opéras comiques, three of which were written for the Comédie Italienne and are now wholly or partly lost. The fourth was L’Amant Anonyme, here receiving its first recording. It differs from Saint-Georges’ other operas in that it was composed in 1780 for the private theatre of Madame de Montesson, the mistress (later wife) of the Duke of Orleans. Cast in two acts, it is a curiously hybrid work. The use of French, the spoken dialogue and the inclusion of ballets all point firmly to the kind of opéra comique developed by Philidor and Grétry. Yet musically the style is decidedly Italianate, as a couple of minutes spent with the quasi-Mozartian overture will reveal. Arias are in a variety of forms; it is interesting to find da capo arias termed ‘ariette’, following the pattern established in the tragedies lyriques of composers such as Rameau.

L’Amant Anonyme has a libretto drawn from a play of the same name by the prolific writer the Comtesse de Genlis. The simple plot involves the intrigues of Valcour, the anonymous lover of the title to win the love of the young widow Léontine, who he has loved in silence for four years but who has finally decided to ‘come out’. The only other characters are their confidants, respectively Ophémon and Dorothée (a non-singing role that the notes suggest may have been played by Madame de Montesson herself) and a young peasant couple, Jeannette and Colin, who are on the cusp of marriage. A certain faux-naiveté informs both the plot and much of the music.

The recording stems from the Haymarket Opera Company, which is based in Chicago and specialises in period productions; the pictures in Cedille’s splendidly produced booklet suggest spectacularly lavish costumes. The performance is pleasant enough but in truth lacking any real distinction. The potted biographies of the singers reveal that none are early music specialists – a curious anomaly for a company devoted to HIP – as is readily revealed by the amount of continuous vibrato on show. The best of them is the Léontine, Nicole Cabell, who does well by the score’s finest and most extended number, the act 2 ariette ‘Du tendre amour’, but is elsewhere apt to become shrill in her upper range. The French dialogue is spoken with varying degrees of success, but if you don’t want to hear it the third CD contains just the musical numbers.  

This a brave effort that deserves praise simply on the grounds that it is an ambitious project – even the music needed editing – executed honestly and with integrity. I’m not convinced that it reveals Saint-Georges to be more than a talented secondary composer and don’t think the note writer’s hyperbole helps his cause any more than the occasionally used lazy appendage, ‘the black Mozart’. Among other things he asks us to look on L’amant anonyme as some kind of trailblazer, remembering that in 1780 Mozart had yet to write any of his, quote, ‘major’ operas. True, but La finta giardiniera predates L’amant by five years and the comparison is invidious. Case dismissed.

Brian Robins