LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: ARIODANTE arrives in DC with DiDonato (5-2-17) reposting
From: Alan Savada <[log in to unmask]>
Reply-To:Alan Savada <[log in to unmask]>
Date:Thu, 4 May 2017 09:45:57 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (87 lines)


Hi all,

I sent this to the list yesterday but I see it did not get posted and also many folks say they did not get it....hope this works!


> On May 3, 2017 at 5:24 PM Alan Savada <[log in to unmask]> wrote:
> 
> 
>     Last night the "touring" show of Handel's Ariodante arrived at a virtually sold out Kennedy Center Concert Hall in all its 3 hours and 40 minutes of glory:
> 
>     The English Concert
> 
>     Harry Bicket -conductor/harpsichordist
> 
> 
>     Ariodante-Joyce DiDonato
> 
>     Ginevra-Christianne Karg
> 
>     Dalinda-Mary Bevan (substitute)
> 
>     Polinesso-Sonia Prina
> 
>     Lurcanio-David Portillo
> 
>     King of Scotland-Matthew Brook
> 
>     Odoardo-Tyson Miller
> 
> 
>     The two women playing women were in gorgeous flowing Grecian gowns and our women playing men in pants, so the confusion was allayed to start with if you don't know the plot. I've seen Ariodante about 3 times but the last was perhaps the 1985 Carnegie Hall version with Tatiana Troyanos/June Anderson/Erie Mills/James Bowman and Neil Rosenshein. A refresher was in order, but this is really about the music.
> 
>     While there is no question that Joyce DiDonato is the star vehicle here, it was the contralto of Ms. Prina that blew me away, not to mention her brilliant acting and portrayal in the very-concert version. What depth in her voice and while she may not have the range (I don't know what hers is) of Ewa Podles, she sure reminds me of her decades ago! Her "Coperta la frode" gave us an amazing full-voiced rendition and set her at a level that I would come back to hear more of.
> 
>     Ariodante's opening "Qui d'amor" is short indeed, but so damn gorgeous and Ms. DiDonato made it even better.
> 
>     Ms. Karg followed with amazing superb coloratura in "Volate amori" and even the King of Mr. Brook was an impressive and royal one.
> 
>     The period hunting horns that accompanied him were worth the trip alone. On a side note, I spoke to both of the instrumentalists afterwards and they said that playing these without keys is indeed a real bitch!
> 
>     Ariodante's "Con l'ali di constanza" had a final "esperanza" that was milked to an amazingly beautiful eccentricity.
> 
>     Ms. Prina was back with "Spero per voi sisi" where her "pupille vaghe" had great depth and the aria ended with a hard kiss to Dalinda on the mouth as she shoves her to Lurcanio who is entering.
> 
>     Mr. Portillo's Lurcanio was  a lesson in tenor sweetness and plaintiveness in "Del mio sol vezzosi rai."
> 
>     Handel is sparing with his duets and the act has a short one followed by a coro finale.
> 
> 
>     Act II had Ms. DiDonato all afloat with "Tu preparati a morire" with awesome coloratura that she is so known for. The B section is slow and she pulled the "disperato" as if were a piece of vocal taffy in the most glorious of ways.
> 
>     Mr. Portillo's "Tu vivi e puntio" gave us more yummy coloratura for this capable tenor.
> 
>     "Scherza infida" is one of the great moments of this work and I still hear Ms. Troyanos singing it in my head, but last night it was a softer approach that gave a feel of a broken person but then crescendoed with pain in her voice that pierced the entire hall. OMG! The audience went berserk!
> 
>     Ms. Prina's coloratura on "io detetso" in "Se l'inganno..." was ike something I have never heard before in my life and it added to the magnificent character portrayal of evil she gave us. I cannot explain this in words, but hopefully you can access the video on the Carnegie Hall performance online and see what I mean.
> 
>     The King's "Invida sorte" had him break down and sing on his knees with a heartfelt delivery.
> 
>     In Lurcanio's "Il tuo sangue," Mr.Portillo seemed not to breathe at all! The act has a mini mad scene, ballet and an oddly short stopped ending.
> 
> 
>     Act II has Ms. DiDonato singing "Ciecca notte" which had a brilliant attack almost pianissimo which grew and grew with superb use of crescendo giving an ample opportunity for the anger to grow. The repeat A section offered trills of pain that blew us away.
> 
>     Ms. Prina's ensuing "Dover, guistizia, amor showed her dexterity of voice and amazing speed...alas her character  was dead shortly thereafter.
> 
>     Act III moves very fast throught the final scenes with an aria from the King framned by two from his daughter that are shorter and then we get to "Doppo notte," the other super famous aria where Ms. DiDonato offered superior embellishment like I have never heard before. Again another burst of screams form the audience.
> 
>     A sweet duet for Lurcanio & Dalinda before we move to Ginevra's cell (I guess nobody told her everything was ok!) for "Manca O dei! La mia costanza," which really gets cut off as the crew all arrive to say everything is fine....so the happy couple can sing another duet that again Handel so rarely allows with nice coloratura blending for the mezzo and soprano. Another quick ballet and a short chorus and we are home (but not before midnight)!
> 
>     Wow what a wonderful night for Handel & DC. It brought back many memories of the famous Washington Handel Festival here in the late 70's and 80's where we had 3 full concerts each year of Handel rarities with amazing casts. Hopefully we wont wait another 30 years.
> 
>     ALAN SAVADA of Washington, DC
> 

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager