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George
Frederic HANDEL (1685-1759)
Amadigi di Gaula (1715) [158:16]
Amadigi: Maria Riccarda
Wesseling (mezzo); Oriana: Elena de la Merced (soprano); Melissa;
Orgando: Sharon Rostorf-Zamir (soprano); Dardano:
Jordi Domènech (counter-tenor).
Al Ayre Español/Eduardo López Banzo
rec. Auditori Palau de Congressos de Girona, Spain, July, November
2006
NAÏVE AMBROISIE AM133 [79:57
+ 78:19] |
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The recent resurgence
in Handel’s popularity as an opera composer has brought back
to life many of his masterpieces presumed dead. Amadigi was
the fifth opera that Handel wrote for London and the last of
his period of experimentation. As a German, living in England,
writing in Italian, Handel was free to invent a non-existent
operatic tradition. With works like Rinaldo, Teseo and Amadigi he
does just that. Amadigi has already had a very successful
recording on Erato with Mark Minkowski and Les Musiciens du
Louvre. While this new Naïve recording doesn’t quite eclipse
that 1991 version, it certainly gives it a run for its money.
The plot, like most opera
seria is implausible and revolves around lots of magic
and mistaken identity. It takes place in the domain of the
sorceress Melissa (soprano), and deals with her frustrated
love for the hero Amadigi (mezzo-soprano). He remains true
to his beloved Oriana (soprano), in spite of the machinations
of his rival Dardano (counter-tenor). In the end the gods
intervene, the evil are punished and all ends happily.
The performance throughout
is very good indeed. I had never come across Al Ayre Español
before: they were founded, by Banzo, in 1988 to revive the neglected
Spanish Baroque repertoire . They have broadened out their repertory
to encompass much of the European Baroque. Their crisp ensemble
is perfectly suited to an intimate chamber work like this. They
have a fantastic attack for the purely orchestral moments: the
Overture and final Ballo are exhilarating, as are the Sinfonias
in the middle of Acts 1 and 3. Furthermore they provide more
than just a simple accompaniment to the arias: sample their
contribution to the first aria (CD1, Track 4). As Dardano plans
his deception his dissembling coloratura is accompanied by some
pristine passage work from unison strings. There are some cracking
effects later on, such as when Dardano is accompanied by a bagpipe-like
drone (CD2, Track 13) or when recorders are introduced at the
beginning of Act 2. The chief credit on this set goes to the
instrumentalists, and to Banzo for controlling the direction
of the music so admirably.
The quartet of soloists
is very strong, though they are all high voices so there isn’t
a lot of variety in the texture. Furthermore there are only
two duets in the whole piece with a “chorus” to finish with:
otherwise it’s arias all the way. Each of them is required to
show off a whole range of vocal display to fit with the huge
gamut of emotions they undergo. Highlights include a collection
of heroic arias (try CD2, track 22 for instance) and some beautiful
laments (try the last track on CD 1). All of the soloists are
strong, with not a note out of place and a good deal of characterful
acting too: all four are pretty well contrasted.
In all honesty, if you
don’t like Handel opera then this set isn’t going to change
your mind, and it doesn’t reach the heights of inspiration met
in later masterpieces like Rodelinda or Alcina.
If you’re happy to give it a go, though, you certainly won’t
be disappointed because the performance is very strong. The
booklet note describes the opera as “a musical map of the emotions” and,
while the plot won’t win any dramatic awards, you could do lot
worse than surrendering yourself to the journey it charts.
Simon Thompson
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