Tag: Opera

Filippo Mineccia countertenor, Ensemble Odyssee, Andrea Friggi
74:49
Glossa GCD 923506

[dropcap]U[/dropcap]ntil very recently, Attilio Ariosti (1666-1729) was musically almost unknown. It was not always so – Hawkins, in his 1776 A General History of the Science and Practice of Music  thought that the great prison scene from Coriolano  recorded here (tracks 8-9) was “wrought up to the highest degree of perfection that music is capable of”. Now (amazingly, for the second time in the past year) we are able to judge for ourselves.

Andrea Friggi has assembled a fine selection of Ariosti’s opera arias and sinfonias, not only from his mature Royal Academy of Music seasons in London, but also from earlier in his career, when he was an Imperial agent to the Viennese court and found time in between his ambassadorial duties to compose an opera or two.

Ariosti comes across as a composer of much imagination and dramatic strength; try the splendid Ouverture to Coriolano  (tracks 5-6), with its extended and lively fugato and quirkily obsessive Presto, or the eerie ‘Premera soglio di morte’ from Vespasiano, (track 4) with unisoni  bassoons wandering through the band’s chordal accompaniment. The great Coriolano  accompagnato (again with bassoon obbligato) and extended aria, with concitato  B-section, is fully as moving as Hawkins says. There is a similar dramatic contrast in tempi in the final ‘Io spero che in quei guardi’, also from Coriolano.

Filippo Mineccia sings with much richness of tone and enviable accuracy in his runs; perhaps a little more light and shade could have been brought to the interpretations, but the music comes across strongly enough.

Ensemble Odyssee give stylish and extremely lively orchestral support – they have made a particular effort to reproduce the Haymarket Theatre orchestra’s strong treble and bass sound described by contemporary operagoers such as the French diplomat Fougeroux.

Andrea Friggi is a persuasive director, as well as providing the fine sleeve notes.

One wonders what a complete Ariosti opera (Coriolano  perhaps?) would be like…

Alastair Harper

Francesca Cassinara soprano, Marta Fumagalli mezzo, Roberto Balconi alto, Mauro Borgioni bass, Gabriele Cassone & Matteo Frigé natural trumpets, Antonio Fringé organ, Alberto Stevanin violin, Marco Testori cello, Rei Ishizawa oboe, Ugo Galasso chalumeau, Ensemble Pian & Forte, Francesco Fanna conductor
59:59
Dynamic CDS7710
RV537, 554A, 779 + arias from various operas

As the booklet notes explain, the trumpet is mostly associated with war and/or royalty in baroque opera. The seven arias from Vivaldi operas confirm the stereotype but also remind the listener of the technical demands the composer put on his singers. Most successful of the four soloists in Francesca Cassinara, whose bright soprano voice is well suited to combination with trumpets and oboes. Marta Fumagalli’s fruitier sound distorts some pitches but the bravura in her aria (which is Track 13, not 11 as printed in the booklet and on the record company’s website!) is exceptional, though I could have lived without the staccato arpeggios added to the Da Capo! The men are adequate. The instrumental playing is actually very good – the strings phrase nicely and layer dynamics convincingly. There is an elephant in the room, though – why does the disc conclude with a chamber concerto without trumpet? No matter how nicely it is played, does it actually serve a purpose? Sure one of the bravura soprano arias could have been held in reserve?

Brian Clark

Ulrike Schneider Agrippina, João Fernandes Claudio, Christopher Ainslie Ottone, Jake Arditti Nerone, Ida Falk Winland Poppea, Owen Willetts Narciso, Ross Ramgobin Pallante, Ronaldo Steiner Lesbo, FestspielOrchester Göttingen, Laurence Cummings
216:00 (3 CDs)
Accent ACC 26404

[dropcap]A[/dropcap]n excellent first recording of the new Hallische Händel-Ausgabe critical edition, edited by John E Sawyer. Agrippina is in many ways the crowning work of Handel’s Italian “finishing school” years, both musically with its refinement and reworking of earlier ideas, and dramatically with its deft handling of Grimani’s sparkling libretto. This latter especially comes across with full force under Laurence Cummings’ expert baton; the extended and extremely witty recitatives fairly crackle with energy and run directly and naturally into the many arias and ensembles. Try the opening of Act 2, and marvel at the dramatic tension that the seemingly rigid opera seria conventions can create. It begins with the whole cast on stage, for the chorus acclaiming the Emperor (shades here of a well-known Coronation anthem yet to come), then each major character in turn denounces Ottone in short, pithy arias, often without opening ritornelli, before going off one by one and leaving him finally alone, to pour out his sorrow in his searing accompagnato and extended contrapuntal ‘Voi che udite’. (Handel was to return to this structure many years later to conclude Act 2 of Tamerlano.)

https://www.youtube.com/watch?v=mGY819NefpQ

By and large, the singers respond well to Cummings’ lively and dramatic direction. Ulrike Scneider is a suitably scheming Agrippina; she rises splendidly to her great scena at the end of Act 2, beginning with the tortured ‘Pensieri’ (note the condensed da capo, once she has sorted out her plans) and concluding action and Act with the foot-tapping ‘Ogni Vento’ (having arranged for the murder of a couple of her enemies!). Ida Falk Winland is fully her match as her rival Poppaea – she too has a fine moment in Act 2, where she first feigns sleep to find out Ottone’s real thoughts, then after further plotting with Lesbo and Nerone, has her extended and fully accompanied ‘Col peso del tuo amor’, with its uncanny presaging of Cleopatra’s ‘Tu la mia stella sei’.

Beside these two dramatic dames, the male parts can seem a little colourless. João Fernandes as the pompous Emperor Claudio produces fine rich bass tone, but slightly misses the delicacy of his lovesick and exquisite ‘Vieni o Cara’ in Act 2. Christopher Ainslie, as the primo uomo Ottone again sings beautifully, but doesn’t quite plumb the despairing depths of his great ‘Voi che udite’, also in Act 2. Jake Arditti does better as the young and mother-dominated Nerone (rising well to the semiquaver sequences of ‘Come nube’ in Act 3). Ross Ramgobin and Owen Willetts, as Pallante and Narciso, respectively, are appropriately sycophantic suitors for Agrippina, and Ronaldo Steiner provides buffo relief as the servant Lesbo.

The FestspielOrchester Gottingen play like angels – alert and incisive in the intensely dramatic overture, with its sudden pauses, and providing superb soloists for the many instrumental obbligati of this lovely score.

This is a live recording, and benefits immensely from Laurence Cummings’ long experience with Handel in the theatre – applause is reserved mainly for the end of scenes, rather than after every aria, allowing the splendid libretto its full effect.

Alastair Harper

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Amanda Forsythe soprano, Apollo’s Fire, Jeannette Sorrell
69:20
Avie AV2350
Music from Alcina, Almira, Ariodante, Giulio Cesare, Orlando, Partenope, Rinaldo, Terpsichore, Teseo & Xerxes

[dropcap]T[/dropcap]his is a thoroughly enjoyable disc. Amanda Forsythe has a bright, agile and flexible soprano, at home equally in the passionate music for Almira or Armida (Rinaldo), the dramatic depths and heights of Cleopatra (Giulio Cesare) and the teasing cynicism of Atalanta (Serse). She displays formidable technique, for example in the precise semiquaver runs in the B section of ‘Piangero’ and also in the remarkable range of vocal colour she brings to Agilea’s deceptively simple continuo-accompanied ‘Amarti si vorrei’ which (as so often with Handel) packs an overwhelming emotional punch.

Apollo’s Fire, under the able baton of Jeannette Sorrell, provide exquisitely-judged orchestral support; they are allowed to shine in their own right in the rarely-heard ballet music from Terpsichore, added as a prologue to the 1734 revival of Il Pastor Fido. I particularly enjoyed the luscious orchestration of the Air (track 10), with flutes and pizzicato bass, and the kaleidoscopic Chaconne.

One’s only minor caveat, faced with music-making of this superb quality, is that the programme is so wide-ranging – it would have been even more impressive to have concentrated on the roles for one or two of Handel’s top sopranos, or even to have heard Terpsichore in full; Handel in context is nearly always even more satisfying than Handel in chunks. And perhaps then one would also have the pleasure of anticipating further similar issues!

Alastair Harper

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