SEEN AND HEARD INTERNATIONAL

Handel, Il Trionfo del Tempo e del Disinganno: Soloists, Combattimento Consort Amsterdam, Conductor: Jan Willem de Vriend. Auditorio Miguel Delibes de Valladolid. 1. 3.2008 (JMI)

Concert Version.

Cast:
Bellezza: Patrizia Biccirè.
Piacere. Elisabeth Scholl.
Disinganno: Nathalie Stutzmann.


This  Handel oratorio, the composer's  first important work of for Rome, offers music of extraordinary quality, among the best that he wrote, and it is no wonder that lately it is been performed fairly regularly  in concert and even on stage in Zurich. I have an indelible  memory of the concert version that  Marc Minkowski offered at  Madrid's Teatro Real almost 4 years ago and while this time, the performance did not quite reach that miraculous level - which only happens once in a very  long time -  we did hear a decent  performance of this beautiful work.

The interpretation was the responsibility of the Combattimento Consort de Ámsterdam under its conductor Jan Willem De Vriend a renowned who founded the group in 1982. They are specialists in baroque music and are a brilliant orchestra, with a sound easily able to compete with the most famous in this kind of music. The highlight of their playing is the strength that the conductor imparts  from his post of first violin.

The concert did not start under the best auspices. It was announced that tenor Carlo Vincenzo Allemano (Il Tempo), had  to cancel due to  a tracheatis which left him voiceless. As it was  impossible to replace him in time, certain cuts were made to the score, and other parts of the role were sung by Piacere or Disinganno. I wonder what the solution would have been, other that the concert cancellation, if the same the problem has afflicted any of the three women singers.

The role of La Bellezza is one of the  most demanding for any soprano; having no less than nine arias, one duet and two quartets (in this case trios). It was interpreted by Italian Patrizia Biccirè, a pleasant light lyric soprano, whose biggest problem is the lack of variety of colours in her voice, resulting in some samenees in this performance although clearly capable  of  correction in the future.

Another soprano, from Germany in this instance, gave life to Il Piacere. She was Elisabeth Scholl, who replaced the initially announced Anne-Lise Sollied, who had also cancelled due to health problems. Il Piacere is less demanding than Bellezza, but it has six Arias, a duet and both quartets. To this I should add that Ms Scholl also sang the absent Il Tempo's first aria and two duets with Il Disinganno. She is a reliable singer but  I prefer a mezzo in the role. The best known moment in the whole work is “Lascia the spina”, later converted in “Lascia ch’io pianga” in Rinaldo in which Ms Scholl was a little short of emotion.

French contralto Nathalie Stutzmann interpreted the role of Il  Disinganno with her usual elegance. Certainly the best singer of the three and perfectly suited to the requirements of the score, her  middle range is particularly  beautiful.

The 500 seat hall was full and the artists received generalized applause and cheers. The concert promoters offered to refunds on  tickets due to the absence of the tenor but no-one accepted due to the satisfying  grandeur of the occasion.

Jose M. Irurzun  

Back to Top                                                    Cumulative Index Page