Page 76 - BBC Music (January 2020)

Opera

Berta Joncus Gervais
OPERA CHOICE
Hypermnestre
Vocal fireworks light up Katherine Watson, Mathias Vidal,
Thomas Dolie, Chantal Santon-
Jeffery, Manuel Núnez-Camelino,
this feast of Baroque arias Juliette Mars, Philippe-Nicolas
Martin; Purcell Choir; Orfeo
Orchestra/Gyorgy Vashegyi
Kate Bolton-Porciatti is wowed by countertenor Glossa GCD 924007 145:59 mins (2 discs)
The music of
Jakub Józef Orliński’s technique and versatility Charles-Hubert
Gervais (1671-
1744) has been
unjustifiably
Flawless performer: ill-served on
Jakub Józef Orlin´ski disc. Apart from a splendid Te
is simply captivating
Deum, the grand motet Exaudiat
Te and petit motet O sacrum
convivium, recorded in the 1950s,
there has been virtually nothing
until the appearance of this fine
performance of his most successful
opera Hypermnestre. Gervais,
a contemporary and friend of
Campra, enjoyed the patronage
of the music-loving Philippe of
Orleans who became Prince Regent
on the death of Louis XIV in 1715.
Hypermnestre, with its greatly
admired libretto by Joseph de la
Font, was premiered in Paris in 1716,
revived in 1717 with a new fifth act
libretto by Simon-Joseph Pellegrin,
and subsequently on several
occasions, until 1766. The recording
adheres mainly to the 1717 version
but further includes the original
1716 fifth act.
Facce d’amore this disc, though, lie in the arias by Bononcini, Conti The plot of this tragédie en
Countertenor arias by Cavalli, Boretti, and Predieri. To the drifting melody of Bononcini’s musique is pretty gruesome, leading
to the massacre of the 50 sons of
Bononcini, A Scarlatti, Handel et al ‘Infelice mia costanza’, Orli!ski brings a hauntingly Aegyptus on their wedding night
Jakub Józef Orliński (countertenor); stark tone. He bewitches in Predieri’s ‘Finché salvo’,
by their wives, the daughters of
Il Pomo d’oro/Maxim Emelyanychev casting lyrical lines over a throbbing accompaniment. his brother and enemy Danaus.
Erato 9029542338 73:55 mins Originally written for the virtuoso castrato Antonio Only Hypermnestra disobeys her
Breakdancer, model, acrobat, and James Dean Bernacchi, for whom Handel also composed, the father in order to spare her spouse,
lookalike, Jakub Józef Orli!ski is also emerging as one aria shows off Orli!ski’s resonant lower range. Lynceus. Though Lully-like in its
of the finest countertenors on the Then there’s Conti’s furious prologue – introductory, rather
musical scene today. Facce d’amore Orli!ski whirls vengeance aria ‘Odio, vendetta, than honorific – and five acts, the
paints the volatile faces of love in effortlessly through amore’ – a vocal breakdance, with music frequently sounds forward-
Italian Baroque opera, threading athletic leaps from high to low, looking, even anticipating Rameau
together one pearl after another. this vocal breakdance which Orli!ski whirls through at times, and especially in the
Alongside some of Handel’s most effortlessly, backed by gutsy many imaginative instrumental
poignant and dramatic arias are eight world premieres playing. By way of an interlude, Nicola Matteis’s dances. The strengths of the piece,
– ravishing works by all-but-forgotten composers who Ballo dei Bagaltellieri is a colourful instrumental described by his biographer, Jean-
give Handel more than a run for his money. The disc is romp complete with exotic percussion, flamboyantly Paul Montagnier as the best opera
a masterpiece of sleuthing and programming. realised by Il Pomo d’oro. The whole sequence is of the Regency period, lend weight
Orli!ski vaunts an impressive technique: simply captivating. to this timely rehabilitation of
intonation, diction and breath-control are nigh PERFORMANCE HHHHH its composer. The performance
JIYANG CHEN, HUGO BERNARD While his voice is intimate, its expressive range is website at www.classical-music.com invigorating and responsive to
flawless, and he breezes through the vocal fireworks.
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RECORDING
under György Vashegyi is stylish,
Hear extracts from this recording and the rest of
ample: he rends the heart in Handel’s ‘Pena tiranna’
the demands of text and music.
this month’s choices on the BBC Music Magazine
and vacillates from dark fury to lucid tenderness
Nicholas Anderson
in the mad scene from Orlando. The revelations of
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PERFORMANCE
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78 BBC MUSIC MAGAZINE RECORDING