If, for you, Handel must be in the original setting with arbours,
groves, magically disappearing mountains and suddenly appearing
fountains, then this production is not for you. If, however, you
are prepared to accept a setting of a sanatorium at some imprecise
time after the first World War, where Zoroastro is not merely
the Director but also the surgeon, Orlando the chief inmate, with
Angelica as another, Dorinda as a nurse and Medoro as a bit of
a groping spiv, then do give this recording a chance.
What may well jar
is the failure to follow through necessary consequential changes
in the libretto. There are so many examples, two will suffice:
Dorinda described as a ‘shepherdess’ and names on a blackboard
described as carved on a tree. In similar vein, if omissions
are made to the plot, then the consequences really ought to
be addressed. For example the relating of the destruction of
Dorinda’s home by Orlando and the burial of Medoro in the ruins
are omitted. So no death of Medoro then. Therefore why does
Zoroastro sing that he has saved Medoro?
Let us accept the
simple deflecting answer: live with it. Not being a well-known
opera, what is the plot? It would be easy to write a brief essay
but a skeletal framework must suffice. At the opening of the
opera Orlando loves Angelica and Dorinda loves Medoro. Unfortunately,
Angelica and Medoro love each other: and that is how the opera
ends with Orlando and Dorinda stepping aside. En route to achieving
that Orlando descends into madness before overcoming his own
confusion of love and glory. Dorinda recognises her own inability
to achieve either Orlando’s love or Medoro’s love. Angelica
accepts her former love of Orlando but has moved on and now
devotes herself to Medoro including vocal and physical skirmishes
with Dorinda. Zoroastro influences all trying to prevent them
from falling prey to their own failings.
That back ground
almost cries out to be up-dated in our psychologically conscious
time: and what better time than post the First World War with
its mentally damaged participants. The opera itself defies much
of the baroque tradition: da capo arias there are but there
are also sections of through composed music. As an aside it
may that this was what led to the departure from Handel’s opera
company of his great soloist Senesino – not enough da capo for
his self- glory – but I digress.
There is plenty
of glory here for Marijana Mijanović (Orlando). Whilst
early on I think that there is occasional indistinctness of
enunciation that soon disappears. She has a strong voice across
her whole vocal range and she grabs the music and gives it a
metaphorical shake applying her distinctive timbre with equally
convincing acting. That is essential for the conclusion of Act
2 where Orlando’s jealousy has driven him way beyond the edge
of reason into his imagined world before his physical collapse.
Mijanović gives
an outstanding display of an unhinged mind. My only real reservation
relates to her deep timbre or tone. Compare that with what must
still be regarded as the definitive recording (L’Oiseau-Lyre
Hogwood CD: 4308452) on which James Bowman sings Orlando.
Christina Clark
(Dorinda) has not the strongest voice. Early on, when William
Christie is setting a fast tempo, she does not quite middle
every high note. However she soon settles. Very clear pronunciation
and gentle, even trills are a splendid contrast with her later
feisty duet Ah! mia Signora with Martina Janková (Angelica)
ending in a brilliantly staged pillow fight. Clark’s facial
expressions are excellent and well captured in brief close up.
Equally powerful is her duet with Mijanović in the last
act commencing Pur ti trovo o mio bene.
Martina Janková
as Angelica gives a splendid performance. Her singing appears
effortless and she throws off high notes with what appears to
be nonchalant ease. She produces glorious singing ranging from
pathos to aggressive expression. Her gentle vibrato, colouring,
focus and timing are pure pleasure; her venom a sight and sound
to admire.
Konstantin Wolff
(Zoroastro) is a young man whose voice has not yet filled out.
I note that this recording was made in 2007 whereas the earlier
production was at the Zurich Opera House in January/February
2006 when Günther Groissböck took this role - the only cast
change from the original. Wolff does not bestride the production
as a paternal/controlling figurehead. This is partly attributable
to his youthful voice and partly to the production wherein as
superintendent of the institution he has a rational explanation
for his student followers: there is no overarching mysterious
magical power. It here descends to the level of injection and
chloroform pad. All that said, Wolff carries the role well and
has some resonantly deep notes. Given time and if not forced
too soon, I am sure his voice will develop deeper colouring
and greater power.
Medoro, sung by
Katharina Peetz, is portrayed as a spiv who might well be in
love with, and grope, Angelica but who also enjoys a grope with,
and by, Dorinda. I think that this is an unnecessary sexual
addition – but maybe the view was taken that that is one of
the ways to make opera more ‘accessible’ – in current buzzword
language. Bosom groping maybe; but crotch groping? – no thank
you. However I will take my own advice and ‘live with it’.
Peetz has a very
smooth and easy tone Her Verdi allori, sempre unito is
delivered with gently colouring and well judged dynamics squeezing
out every drop of emotion. I think that her costume for the
last scene curious: was the turban a misguided nod toward the
African prince role of Medoro of the original libretto? Some
of Angelica’s costumes are striking particularly against the
‘staff’ white coats or nurse uniforms and those of Orlando as
an in-patient.
Duets and trios
are a Handelian departure from the pure baroque. With such a
strong cast it is not surprising that these are sung and acted
with admirable assurance. The trio at the end of Act 1 Consolati
o bella, and groping notwithstanding, is delivered with
excellently balanced vocal sounds. The interchange between Clark
and Janková in the final Act commencing Ah! Mia signora
is a joy. Clark’s facial expressions are excellent and well
filmed in brief close-up.
The baroque aficionado
William Christie is in charge of the orchestra. I hesitate to
say this but for me some of the tempos were too regular. In
the ‘mad scene’ there is not enough emphasis between the different
sections. Also the sound does not seem as immediate as it does
on the CD I have referred to. No doubt that is the disadvantage
of the live theatre as against the recording studio where the
orchestral lay out was “modelled on contemporary illustrations
of opera orchestras” (Anthony Hicks. CD booklet p.14).
Finally, there is
an excellent listing of the tracks with recitative and aria noted
separately: ignoring the opening and closing credits, 52 no less.
Robert McKechnie
see also
Review by Jens Laurson
Orlando …
Marijana Mijanović (mezzo) 
