Handel's Giulio Cesare is regarded as one of the most important baroque operas, if not the most celebrated, as maybe the most important title of the
genre, and by far the most popular stage work by the German composer. Handel's feted works such as
are usually among the most heard, influential in Western music. His operas, on the other hand, were rapidly forgoten within few years after their own premieres, and not revived until 20th Century, regaining little by little their place as masterpieces of the operatic repertoire.
In Madrid, the CNDM (Centro Nacional de Difusión Musical), hosts the Universo Barroco cycle, at the Auditorio Nacional de Música as venue, featuring each season the most significant worldwide ensembles, singers and soloists in the Baroque Music scene, including also applauded performances of operas. As the Spanish operatic scene is very fond of Baroque, supporting it with many remarkable musicians and performers, Giulio Cesare is well known to our audiences. Focusing only in the Spanish capital, we could start with the iconic Cleopatra sung by Montserrat Caballé in the 80s in concert at the Teatro de la Zarzuela, then its 2002 premiere at the Teatro Real, conducted by Rinaldo Alessandrini, directed by Luca Ronconi and Jennifer Larmore and María Bayo as the main couple. The last performance here took place at Auditorio Nacional itself, during the successful 2008 tour by René Jacobs and the Freiburger Barockorchester.
In 2021, it returns to the Auditorio, in a concert performance by the famous ensemble La Cetra Barockorchester Basel, conducted by Andrea Marcon, presenting for the first time in Spain the 1725 version, supressing the aria-less characters of Nireno and Curio, and the role of Sesto sung by a tenor, and some significant changes, specially in some arias sung by Sesto and Tolomeo. So, it was a must for any Baroque music lovers, as most of us are most familiar with the original 1724 version, and this one has never been recorded. Even some people attending yesterday have never seen Giulio Cesare before. I myself had also my first time live with this height of baroque opera.
The result was, an unforgettable night in which orchestra and singers gave a devoted rendition, improving as the show went by.
Marcon conducted the orchestra from the harpsichord, in a brilliant performance, in which he mad the instruments to shine, with rapid and passionate tempi. The horn solo in Va Tacito received a great ovation after the end of first act, the violin in the Parnassus scene and in the Se in fiorito aria had an accomplished, shining sound. Strings gave a masterful performance, reaching one of their heights in L'angue offeso, in which Sesto's anxiety and will of revenge were conveyed through their dramatic and at the same time agile sound. The horn ensemble gave the final chorus a touch of magnificence through their elegant sound. Handel's score conveys and create the psychological profiles of the characters and in one of the most accomplished operatic creations of the period, through a beautiful and inspired set of arias, in the background of a political plot, the conflicts and feelings of Cesare, Cleopatra, Cornelia and Sesto, the frenzy and evil of Tolomeo, and Achilla's brutality even when he is love. Marcon's electrifying rendition echoed all this.
The title role was sung by Carlo Vistoli, whose dazzling coloratura and contralto-toned voice, with deep low notes. This Italian countertenor gave a powerful rendition of Va Tacito e Nascosto and a breathtaking Al lampo dell'armi.
Emöke Baráth was by far the biggest star of the show alongside the orchestra, with her Cleopatra. Her voice has a dramatic, a bit dark tone, which makes her portrait of the Egyptian queen more seductive, more royal. Her high notes are really pristine, really amazing in Non disperar chi sa. She sang exquisitely the Se Pietà and she gave a touch of tender, fragility to her moving rendition of Piangerò la sorte mia.
Beth Taylor was a splendid Cornelia, with her beautiful contralto voice, with a resounding low notes. Her rendition of Priva son d'ogni conforto was sung in a moving way, with the masterful accompaniment of the traverso flute, and an unforgettable, sensitive final pianissimo in the word "speme" her aria Deh piangete, oh mesti lumi.
Carlos Mena sung Tolomeo, the central villain. The veteran Spanish countertenor commands the coloratura and the low register. His warm, contralto-tone is suitable for the impulsive and lascivious role. This impulsivity was conveyed in the Si spietata aria, and his final well-known aria, Domerò la tua fierezza, had the deepest low note in the night, in the "ma quell'ali io ti tarpedrò" line. Really astonishing.
In this edition, Sesto has to be sung by a tenor. Juan Sancho sang this tormented role with his nice leggero tenor voice, specialized in baroque, even when some high notes could be difficult. The new arias introduced by Handel are really pretty. Act 2 is closed with Scorta siate a passi miei, replacing the famous L'aura che spira, but the bravura is not lost. In this aria Sancho sang a spectacular coloratura. He also sang well his new aria in Act 3, Sperai né m'ingannai.
The baritone José Antonio López sang the role of Achilla. His voice is big-volumed, but the level was a bit discrete. Nevertheless, he reserved his voice for his final aria Dal Fulgor di questa spada, which was well sung, with a good coloratura and high register.
Both Vistoli and Bárath sang powerfully and beautifully their final duet Caro, bella and in the final scene, with an accomlplished, resounding coloratura, and alongside the excellent final accompaniment of the orchestra, the show was closed with a sensation of triumph, like a victory of the real Julius Caesar. The outstanding ovation from the audience showed how much they had enjoyed, and how great was the level of this unforgettable performance, being for some people, like me, the first time seeing live Handel's greatest opera.
Yesterday, Handel, Giulio Cesare and La Cetra came, saw and conquered Madrid.
My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.
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