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George
Frideric HANDEL (1685-1759) The Handel Collection Rodelinda(1725)
Rodelinda – Anna Caterina Antonacci (soprano) Bertarido – Andreas
Scholl (counter-tenor) Grimoaldo – Kurt Streit
(tenor) Garibaldo – Umberto
Chiummo (bass) Eduige – Louise Winter
(mezzo) Unulfo – Artur Stefanowicz
(counter-tenor) Orchestra of the Age
of Enlightenment/William Christie Jean-Marie Villégier
(director) rec. Filmed at Glyndebourne,
June 1998 Region Code 2, 3, 4,
5; Aspect Ratio 4:3, LPCM Stereo [202:00] Theodora (1749) Theodora – Dawn Upshaw
(soprano) Didymus – David Daniels
(counter-tenor) Irene – Lorraine Hunt
(mezzo) Septimus – Richard Croft
(tenor) Valens – Frode Olsen
(bass) Orchestra of the Age
of Enlightenment/William Christie Peter Sellars (director) rec. Filmed at Glyndebourne,
June 1996 Region Code 2, 3, 4,
5; Aspect Ratio 4:3, LPCM Stereo [207:00] A Night
With Handel
(1996) John Mark Ainsley (tenor) Sarah Connolly (mezzo) Rosa Mannion (soprano) Claron McFadden (soprano) Alastair Miles (bass) Christopher Robinson
(counter-tenor) Orchestra of the Age
of Enlightenment/Harry Bicket Region Code 2, 3, 4,
5; Aspect Ratio 4:3, LPCM Stereo [51 mins] WARNER
CLASSICS 505186532732
[3 DVDs: 460:00]
Warner have often had an eye to the timely re-release and here
they make a canny but very welcome addition to this year’s Handel
commemorations. The two Glyndebourne films are very satisfying,
especially Theodora, which must count as one of the greatest
moments of recent Handel interpretation in this country. The unconventional
Peter Sellars sets the Classical story in a corner of the modern
USA where a draconian President orders that everyone worship the
gods or face death, something that Christians Theodora and Didymus
face up to in the final scene where they are executed by lethal
injection. True, not all of Sellars’ staging is consistent or
satisfying, but there are some marvellous and memorable images,
not least the sight of heavily armed American soldiers throwing
their weight around. That they trample over civil liberties while
wearing orange jumpsuits has taken on an added edge for audiences
in the post-Guantanamo era. The use of gesture is highly stylised
and will not please everyone, but it is all of a piece with the
powerful acting which Sellars elicits from the cast who all buy
into his vision with enthusiasm and dedication. There is little
staging to speak of, but the most powerful scene is the prison
in Act 2 which shows a darkened stage with a square of light in
which Theodora herself is confined. It is here that Dawn Upshaw
is at her finest, too. Her clear, pure voice is ideally suited
to this untainted heroine and she sings with unaffected tenderness
in Act 1, but in Act 2 we see her facing the horrible prospect
of being raped for her faith and Upshaw conveys first terror and
then transcendence in her voice as well as in her acting. It is
quite extraordinary that she can sing at all in view of the contortions
she is asked to pull! David Daniels’ counter-tenor is, if anything,
even more beautiful. He has a purity of tone and an other-worldly
grace which is really quite disarming, and he continually shows
remarkable breath control in the way that he is able to spin out
a long Handelian phrase without a break. Frode Olsen’s thunderous
bass is just right for the authoritative role of the President,
while Richard Croft’s light, flexible tenor is a model of great
Handel singing. The finest performance of the evening, however,
is given by the late lamented Lorraine Hunt. Her dark, husky mezzo
fits Irene’s character of disconcerted nervousness but there is
an understated beauty to her singing which is often stunning.
Nowhere is this more so than in Act 1’s As with rosy steps
the morn, when she faces up to the coming tribulation with
steadfastness and decision. Her opening number in Act 3 attains
similar heights. For me this only makes the tragedy of this great
singer’s early death all the more poignant.
Rodelinda was the first Handel opera (as opposed
to staged oratorio) that Glyndebourne ever staged. Musically
speaking it is quite marvellous, though the production is rather
dull. Villégier updates it to an unspecified tyrannical regime
in the silent movie era of the 1930s and even tries to make
it look like a black and white film. There is no colour at all
in the production, just different hues of grey, and the pallid
lighting means that parts of it are almost impenetrably dark!
In Act 3 Bertarido remarks in his prison, “I cannot make it
out for the darkness.” Too right! Mercifully, the singing is
much more satisfying, especially from Andreas Scholl who here
takes on his first Handel opera role, though this is hard to
believe in the light of how thoroughly assured his performance
is. His opening aria, Dove sei, which some may know in
English as Art thou troubled, is astonishing in the purity
and ravishing beauty of Scholl’s voice. This counter-tenor is
never cold: in fact he manages warmth and beauty that few sopranos
could manage in this role, and he has fantastic technical control
to match. Next to him Anna Caterina Antonacci takes a while
to warm up as Rodelinda and she is decidedly under the note
for her first two arias in the opening scene. Things improve
by the second act, though: her heroic Spietati aria is
thrilling, as is the duet between her and Scholl at the end
of the act, though one would perhaps want more creamy tone in
Ritorna o cara. Kurt Streit’s tenor brings malice and
character to the usurper Grimoaldo but his voice is always beautifully
mellifluous and his Prisoner aria in Act 2 is quite lovely.
Chiummo’s Garibaldo is dark and menacing, and he pulls off the
not inconsiderable of singing one of his arias with a cigarette
dangling out of his mouth! Louise Winter sings and acts well
as Eduige and if Artur Stefanowicz’s Unulfo is somewhat watery
then at least he makes a good contrast for Scholl. In both of
these films William Christie proves himself to be one of the
finest Handel interpreters we have, eliciting playing of buoyancy
and verve from the always excellent OAE.
A Night with Handel is a 1996 film from Channel 4 from the
days when that broadcaster was far more interested in the arts
than at present. Presented by Jonathan Keates and containing
interviews with experts like Nicholas McGegan, it takes a selection
of various arias and recontextualises them in a performance
film set during one night in contemporary London. It looks and
sounds good and while it probably isn’t something you would
return to it’s very enjoyable and it would be a good gift for
someone who is coming to Handel opera for the first time. The
singers, especially Sarah Connolly, are all very good, except
for Christopher Robinson whose countertenor is pallid and unexciting.
So this is a good introduction to what Handel’s
operatic gifts can do, even though only one of these discs is
a conventional opera. It’s also not bad value because Discs 1
and 2 contain well over three hours of music each. Picture and
sound quality are fine, though it’s a pity they’re only in PCM
stereo.
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