The 2020-2021 season of the Universo Barroco (Baroque Universe) at the Auditorio Nacional de Música in Madrid, has begun yesterday, Columbus Day, with a concert version of Handel's Radamisto.
Radamisto was the first opera Handel wrote for the Royal Academy of Music, in whose shareholders King George I himself was included, founded to provide some opera seria repertoire in early 18th Century London. The libretto by Haym, whose story goes back to Tacitus' Annals, in which the story of a not so much charismatic prince and her beautiful wife are prosecuted by the king, who is obsessed with the latter. The work has lots of inspired pages, like the beautiful oboe solos in the Overture, the Polissena's arias (the most beautiful and difficult), or the bravura arias by Tiridate and Zenobia, among others, and the final act full of terrible and extreme difficult coloraturas.
Touring Spanish capitals (last week they performed in Barcelona), Il Pomo d'Oro brings the madrileños this beautiful opera, in its 1720 original version. Conducted by the also harpsichordist Francesco Corti, this world-famed ensemble has rendered an unforgettable version of Handel's work. Tempi could be a bit slow, but they fit into this palace-scheming story. An inspired rendition which recreates in the solemnity and beauty of the score. The concertino Zefira Valova, played an amazing and virtuous solo in the Polissena's final aria, an obbligato violin. Oboes and trumpets were really beautiful, the latter one splendid in Tiridate's arias or the brilliant cello in the final Zenobia aria.
Philippe Jaroussky leads the cast, singing the title role. The feted and already legendary French countertenor has announced this will be one of his last performances of a complete opera, focusing specially conducting, but he would continue in recitals. Now 43, and after more than two decades of glorious career, Jaroussky seems to appear a bit tired in his singing, apart from some high notes now more strident. Nevertheless, he still maintains his beautiful and characteristic soprano tone, and his long scenical experience, revealed in his movements and expressions, giving the concert a somehow theatre sense, very missed in this kind of performances. He started with his characteristical charming tone in Cara Sposa, amato bene, sung with his usual exquisite taste for singing. He is still able to sing well terrible coloraturas, like in Vanne, sorella ingrata. In his final aria, Qual nave smarrita, he sang with a moving expressivity, totally devoted and conveying the hero's despair.
Emöke Baráth, was, however, the best singer of the cast. As mentioned before, her role Polissena has the most beautiful and complicated arias, and Baráth has a dazzling seductive, dark, warm tone to make them justice. Her voice is well projected into the vast hall. Her high register is superb, and also her ability to maintain notes, like in her final aria Sposo, ingrato, parto sì, in which her voice competes in virtuosism with Valova's violin. She commands coloratura, too. A rendition to be remembered.
Marie-Nicole Lemieux has sung the role of the desired and unfortunated Zenobia. A total reference in Baroque music, this Canadian contralto has shown her command of this repertoire. Her coloratura is amazing, as well as her velvet-like, dark tone and her powerful low register, which impressed the audience. Like her colleague and friend Jaroussky, she is also an accomplished actress, and chemistry on stage between both singers was remarkable. In her first aria Son Contenta di morire she gave a lesson of baroque coloratura. Her rendition of Deggio dunque, o dio was tragical, and she conveyed Zenobia's fury in Empio, perverso cor.
Zachary Wilder has a nice, lyrical tenor voice, with a shining tone. In his final aria, Alzo al volo di mia fama, one of the most complicated arias in the whole opera, being at the same difficulty level of the castrato arias. Wilder's agilty and high register impressed the audience, commanding the extreme coloratura.
Anna Bonitatibus as Tigrane has a sweet, agile voice, with a nice tone. Alicia Amo sang a good Fraarte, specially in his aria S'adopri il braccio armato, though she needs a bit of volume. Renato Dolcini as Farasmane has a big-volumed voice, forceful in the recitatives, but lacking some energy in his aria.
Now that full capacity is allowed, long queues to enter were seen in the square of the auditorium. However, tickets weren't sold out, despite all. But all the attendees experienced an unforgettable opera night, in which Handel's music has conquered the audience in Spanish National Day.
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