The Théâtre des Champs-Élysées played host to a wonderful concert performance of Handel’s Rodelinda, with a stellar cast which included soprano Karina Gauvin, and the contraltos Sonia Prina and Delphine Galou. Alan Curtis was at the helm, directing the orchestra, Il Complesso Barocco.
From the moment Karina Gauvin sang her first note, she stamped her authority on the character of Rodelinda. Her potent attack in the aria “L’empio rigor” was ferocious indeed, yet she was capable of great tenderness also, as her light touch and exquisite phrasing in “Ombra piante” confirmed. Her technical skill and confident coloratura was evident in the demanding “Morrai, sì”, while Gauvin raged with the force of a Medea in the recitative where Rodelinda exhorts Grimoaldo to kill her son. In the following aria, “Spietati, lo vi giurai” Gauvin was on fire. The purity and solidity of tone in the high tessitura of “Ritorna, o caro” was beautiful to behold, while her “Se’l mio duol”, with its nods to “Se pietà” from Giulio Cesare, was utterly heartrending. Gauvin’s “Mio cara bene”, was truly joyous as she soared above the stave. Gauvin was indeed a memorable and powerful Rodelinda.
Sonia Prina, contralto
In a role which is so full of powerful arias, it was surprising to note that Sonia Prina’s Bertarido produced some of the tenderest performances I have ever heard from her. In the poignant “Dove sei”, Prina’s middle register was so light and pure it was almost as if we were listening to a lyric mezzo, instead of a contralto famed for revelling in her chest register, while “Con rauco mormorio” was devastatingly affecting. Prina returned to her fiery form with “Confusa sì miri” thundering through her lines with tremendous security in the lower register, while she effortlessly navigated the awkward lines of “Scacciata dal suo nido” which sit right across the contralto lower passagio. Prina’s vocal fireworks in “Se fiera belva ha cinto” threatened to upstage her astounding “Vivi Tiranno”, both of which saw her dive ferociously into the true contralto depths.
The duet “Io t’abbraccio” was truly magical, as Prina and Gauvin’s voices wove together to form a richly textured, intimate musical pattern: where Gauvin glided to the top of the stave, Prina countered by flowing to the bottom, achieving a synthesis of tone in the overlapping areas.
The velvety tones of mezzo Romina Basso and contralto Delphine Galou were heard in the roles of Eduige and Unulfo respectively. Basso’s rich middle register added a sultry sensuality to the traitorous Eduige. She excelled in the feisty “Lo farò dirò spietato”, her warm tone present throughout the range. “De’ miei scherni” saw Basso unleash her trademark speed, and her wonderful ornamentation. She also excels in dynamic variations, which she uses to great effect on long, unaccompanied notes in her cadenze. Her last aria was the vivacious “Quanto più fiera”, in which she seemed to enjoy herself a lot. Galou’s speed and lightness of touch, coupled with her dark timbre, make her voice perfect for the so-called “trouser” roles. She sped through her first aria, “Sono i culpi”, at breakneck speed, navigating confidently the low-lying coloratura. In “''Fra tempeste funeste” Galou sang one of the most beautiful lines in the opera, the phrase “foreira la calma già spunta una stella”, which was enriched by her beautiful mezza di voce on each of the tied notes.
Topi Lehtipuu’s Grimoaldo was a little off kilter after a mishap in the first aria, but he recovered to produce a lovely “Prigioniera hò l’alma”. While some of the arias seemed a little low for his beautiful, high and light lyric Tenor (which is superb for Vivaldi, in which he has proven success), his “Trà sospetti” was fabulous, with Lehtipuu dominating the aria. Matthew Brook gloried in his role as the scheming villain Garibaldo. “Di Cupido” was both menacing and entertaining, with Brook taking the high tessitura and difficult series of arpeggios in his stride. Particularly good was the extended phrase on the word “alletta”. For me, though, one of the highlights of the night was Brook’s maniacal “Tirannia”, sung with true evil triumph, and one of the best I have heard. Alan Curtis and Il Complesso Barocco did a great job, and thanks for the encore of the final ensemble, with Matthew Brook reduced to an “ornamental” role as his character was already dead by this point. It was a fantastic evening, and a lovely end to my Parisian holiday.