James edward hughes
  • Home
  • Blog
  • Essays
    • Science >
      • Science Essays
      • Underwater World >
        • Essays
      • The Lithopaedion's Lair
    • History >
      • History Essays
    • Travel >
      • Holidays and Trips
      • Fossil Hunting
    • Book Reviews
    • Music >
      • Music Essays
      • CD Reviews
      • Concert Reviews
  • About Me
  • Contact

L'Olimpiade: Queen Elizabeth Hall

5/30/2012

0 Comments

 
In this Olympic year, it is perhaps appropriate that we should be presented with a few performances of possibly one of the most popular librettos of all time: Pietro Metastastio’s L’Olimpiade. More than 60 baroque and classical composers used the libretto as the text for their own operatic and instrumental creations, including Antonio Vivaldi. Last night, instead of the more famous Vivaldi opera, we were presented with a "pasticcio" of the works of 16 composers: Leo, Hasse, Galuppi, Sarti, Mysliveček, Paisiello, Pérez, Vivaldi, Gassmann, Caldara, Traetta, Jommelli, Cherubini, Pergolesi, Piccinni, Jommelli and Cimarosa.
 
The pasticcio is the brainchild of Joseph Fifer, manager of the Venice Baroque Orchestra (VBO) – the players at last night’s performance. In 2001, the VBO performed the modern day premiere of Cimarosa’s L’Olimpiade, followed in 2006 by the premiere of Galuppi’s version. It was “during research for the Galuppi staging,” Fifer says, that he became “aware that dozens of composers had set the same story.” This led to discussions between Fifer and director of the VBO, Andrea Marcon, “about creating a pasticcio performance and recording project.” After searching the archives of Milan, Florence, Naples, Venice, Paris, Lisbon, Berlin, New York, and Washington DC, and online music resources, the final tapestry of arias by 16 composers was woven together. 

The result was a CD, released on the Naïve recording label (also responsible for the groundbreaking Vivaldi Edition project), and a series of concerts in Europe, starting in London. A preview of some of the arias on the recording can be seen in the video below.
The role of Megacle was taken by mezzo-soprano Romina Basso. We were treated to Basso’s excellent coloratura work in the first aria, Hasse’s “Superbo di me stesso.” Particularly nice was her dark tone on the low, descending phrase “come mi sta nel cor,” and her truly Olympian ornamentation in the da capo. The orchestra was a little loud, however, and slightly obscured her chest register in this aria. Not so in the fiery second act aria “L’amico dov’è?” by Cherubini, which Basso stormed through with passion, excellent diction and consummate phrasing. Her inspired modulation of the dynamics wound up the tension, earning her an extended applause. Her final aria, “Lo seguitai felice,” was a Basso tour-de-force, with exciting coloratura, fluid movement throughout the range, and breathtaking beauty of tone.

Two of the three arias for contralto Delphine Galou – taking the role of Licida – were composed by Baldassare Galuppi. His version of the opera premiered in Milan, and was regarded as his most successful opera seria. The first aria, “Quel destrier, che all’albergo è vicino,” showed off Galou’s rich, velvety timbre sound, while in her last aria, “Gemo in un punto, e fremo,” her forceful delivery and intuitive delivery of the text was striking: and what a strong low Ab at the end of the B section! The most astounding performance, however, was her beautifully tender, stripped-down version of Vivaldi’s “Mentre dormi” – a haunting and definitive rendition.  I look forward to hearing her interpretation of the role of Bradamante in Handel’s Alcina at Versailles next month.
Picture
I was looking forward to hearing the aria by Josef Mysliveček “Del destin non vi lagnate,” performed be tenor Jeremy Ovenden. What I was not prepared for, however, was the ringing F#4 (G in Baroque pitch) at the start of the piece. In fact, I would say that Ovenden was the surprise of the evening. His pianissimo notes in the head register on the phrase “ma regnate”were delightful, and his phrasing and tone throughout the aria marked him as a rising star. Well done to him also for continuing un-phased as part of the ceiling fell down! He handled the difficult “So ch’è fanciullo Amore” by Jommelli expertly, and excelled in the final aria of the opera, “Non so donde viene” by Cimarosa, with its nearly two octave ascending leap.

Luanda Siqueira took on the role of Argene, originally performed by Karina Gauvin on the Naïve recording. She was composed throughout, and performed well, particularly in Pergolesi’s fiendish “No, la speranza,” displaying a solid and flexible range over two octaves. "Oh care selve, oh cara" by Sarti had some beautifully lyric moments, with Siqueria providing some very tasteful ornamentation. Her coloratura during Traetta's "Che non mi disse un dì!" was precice, though it was freer and more playful in her final aria, Perez's "Fiamma ignota nell’alma mi scende."
Picture
The love interest of both Licida and Megacle, the Princess Aristea, was sung by Ruth Rosique, who threw herself into her character with determination, reaping exciting results, particularly in the fierce offering from Leonardo Leo, “Tu me da me divide”. Her duet with Romina Basso, “Nei giorni tuoi felici,” was convincing, with Rosique and Basso interacting well. Caldara's "Grandi, e ver, son le tue pene" is vocally taxing, but Rosique managed to make it her own. Paisello's "Tu di saper procura" and Piccinni's "Caro, son tua cosi" allowed Rosique to showcase the softer side of her voice to great effect.

The role of Aminta was taken by counter-tenor Nicholas Spanos, who also doubled up as a bass in the choruses: the final two of which, both by Hasse, were superb. Bassoonist Stefano Meloni deserves special mention for his virtuosic playing during Spanos' first aria, “Siam navi all’onde algenti,” which was a furious tempest of an aria. Markellos Chryssicos at the Harpsichord was also worthy of note. Chryssicos had previously taken the role of conductor on the CD recording.

It was an enjoyable evening, particularly for those wishing to look deeper into the world of those Baroque composers. Indeed, Joseph Fifer stated objectives were: “to help introduce important work by several lesser-known composers, and to encourage others to continue exploring the enormous body of eighteenth-century Italian opera.”

This production shows that these objectives have been met, admirably.
0 Comments

Your comment will be posted after it is approved.


Leave a Reply.

    RSS Feed

    Categories

    All
    Alan Oke
    Alastair Miles
    Alexei Grynyuk
    Alex Jennings
    Alice Coote
    Andrey Breus
    Anna Christy
    Anna Netrebko
    Anna Rita Gemmabella
    Ann Hallenberg
    Ann Murray
    Barbican
    Barry Banks
    Benedetta Mazzucato
    Brian Mulligan
    Cecilia Bartoli
    Château De Versailles
    Château De Versailles
    Clive Bayley
    Contralto
    Corinna Schnabel
    Countertenor
    Daniel Behle
    Daniil Shtoda
    David Hansen
    Dawn French
    Delphine Galou
    Dmitri Hvorostovsky
    Dwayne Jones
    Eglise Gutiérrez
    Elin Manahan-Thomas
    Elizabeth Llewellyn
    Emiliano Gonzalez Toro
    ENO
    Erica Eloff
    Erika Escribá-Astaburuaga
    Ewa Podles
    Filippo Mineccia
    Franco Fagioli
    Galerie Des Glaces
    Giuseppe Esposito
    Gweneth-Ann Jeffers
    Hilary Summers
    Jacek Laszczkowski
    Jeremy Ovenden
    Joyce DiDonato
    Juan Diego Flórez
    Juan Diego Flόrez
    Juila Lezhneva
    Juliet Stevenson
    Karina Gauvin
    Lawrence Brownlee
    Lawrence Power
    Luanda Siqueira
    Lucy Parham
    Malin Christensson
    Maria Bengtsson
    Maria Grazia Schiavo
    Matthew Brook
    Michael Porter
    Miranda Richardson
    Monica Piccinini
    Morten Lassenius Kramp
    Nash Ensemble
    Natalie Dessay
    Nicholas Spanos
    Nikolaisaal
    Olivier Lallouette
    Opera Settecento
    Orchestra Of The Age Of Enlightenment
    Paolo Lopez
    Peter Marsh
    Pretty Yende
    Private Musicke
    Queen Elizabeth Hall
    Roberta Invernizzi
    Romina Basso
    Ronan Busfield
    Rosenblatt Recitals
    Royal Albert Hall
    Royal Festival Hall
    Royal Opera House
    Ruth Rosique
    Sabina Cvilak
    Salle Gaveau
    Sarah Pring
    Sara Mingardo
    Serena Malfi
    Sergio Foresti
    Shintaro Nakajima
    Simon Callow
    Simone Kermes
    Sonia Prina
    Soprano
    St. Martin In The Fields
    Susan Gritton
    Tanja Ariane Baumgartner
    Tarik O’Regan
    The British Library
    Thomas Foster
    Tilman Lichdi
    Topi Lehtipuu
    Trondheim
    Veronica Cangemi
    Veronique Gens
    Vesselina Kasarova
    Vladimir Jurowski
    Vuyani Mlinde
    Warsaw National Opera
    Wigmore Hall

    Archives

    September 2014
    February 2014
    November 2013
    October 2013
    June 2013
    February 2013
    November 2012
    October 2012
    September 2012
    June 2012
    May 2012
    January 2012
    December 2011
    November 2011
    October 2011
    July 2011
    June 2011
    May 2011
    April 2011
    February 2011
    December 2010
    November 2010
    June 2010
    May 2010
    March 2010
    February 2010
    January 2010

MOST VIEWED POSTS

QUEEN CATHERINE DE MEDICI
Picture
The "Maggot from Italy's Tomb?" The "Black Widow" of St Bartholomew? Or one of the finest examples of power politics and survival ever seen? Well, I would have to say yes to all of the above, and more! Catherine was one of the most complex characters in a time of massive internal strife in France, with enemies both within (Guise, D'Albret) and abroad (Philip II of Spain).

MARK OLIPHANT
Picture
Born in Kent Town, Adelaide, Australia, Mark Oliphant was a Physicist, who received the prestigious Hughes Medal (other recipients include Alexander Graham Bell, Enrico Fermi, Stephen Hawking, and Andre Geim). He was also a life-long vegetarian after seeing a pig slaughtered at a farm as a child.

HAYDN'S CELLO CONCERTO IN C MAJOR
Picture
The third movement of Haydn's Cello Concerto in C Major is one of my favourite pieces of music. It is a truly joyous piece, and one which I find uplifting. The first performance I heard was by 13-year-old Han-na Chang, who took my breath away with her skill, musicianship and dynamism.

ETTORE MAJORANA & THE MAJORANA FERMION
Picture
New research from Dutch scientists has revitalised the search for the elusive  Majorana Fermion. The Majorana Fermion was first predicted about 75 years  ago by Italian scientist Ettore Majorana, one of the Via Paspernera Boys - a group of scientists named after the street where their lab was located.

LIQUID CRYSTALLINE WATER
Picture
Water. Without it, we would not exist. Covering nearly 71% of the world’s surface, it is one of the key building blocks of life on Earth. We think we know all about it, how it works, and what it does. But Gerald Pollack, Professor of Bioengineering at the University of Washington, Seattle, is sure we don’t!

FRANCO FAGIOLI: COUNTERTENOR ASSOLUTO
Picture
Franco Fagioli is an Argentinian Countertenor "who seems to redefine the capabilities of the countertenor voice." He has won great acclaim for his performance in the role of Arbace in the recent all-male production of Vinci's Artaserse, and will soon be releasing an album celebrating the star castrato Caffarelli.

© James Edward Hughes 2013
  • Home
  • Blog
  • Essays
    • Science >
      • Science Essays
      • Underwater World >
        • Essays
      • The Lithopaedion's Lair
    • History >
      • History Essays
    • Travel >
      • Holidays and Trips
      • Fossil Hunting
    • Book Reviews
    • Music >
      • Music Essays
      • CD Reviews
      • Concert Reviews
  • About Me
  • Contact