Musically, the 2007 Spoleto Festival recording of Handel’s Ariodate is very good indeed. Unfortunately the production, at least as rendered on DVD, is a bit of a snooze. Director John Pascoe has chosen to set the piece in 1957 to celebrate the 50th anniversary of the festival. The court of the king of Scotland is supposed to evoke the “glamour” of the court of the young Elizabeth II. There is also a partially twisted mirror that is supposed to remind us of the deception and self-deception intrinsic to the plot. I only know this because of the bonus interview with Pascoe as video director Matteo Ricchetti completely ignores it. There’s also a recurrent appearance of an image of Ginevra (Handel having fortuitously stumbled upon le nom juste for a character supposed to remind us of Margaret Windsor) framed by the garter ribbon and motto. Subtle. Continue reading
I guess Serse gets performed as often as any Handel opera but there only appears to be one DVD version in the original Italian available. It’s a 2000 production from the Dresdner Musikfestspiele. Michael Hampe directs a cast of, then, fairly young singers, few of them familiar to me. Christophe Rousset conducts Les Talens Lyriques and the Ludwigshafener Theaterchor. It’s a really good DVD. The costumes and sets, by Carlo Tommasi, are a sort of mid 19th century European with “exotic” touches. There’s a consistent palette of black, white, grey and silver with a little deep blue and cream intruding. It’s all very elegant. The direction is more than competent. The relationships between characters are explored and Sandrine Piau, as Atalanta gets to exploit her considerable comic talents. To cap it all off we get a few, very apt, pyrotechnic surprises right at the end.
The singing is uniformly excellent. Paula Rasmussen, a mezzo, is cast in the castrato title role. It’s a role where personally I’d prefer a David Daniels or a Lawrence Zazzo but she manages to look and sound masculine enough. The same is true for Ann Hallenberg as “his” brother Arsamene; a genuine mezzo role. Patricia Bardon sings Amastre, Serse’s discarded lover who spends 9/10 of the opera disguised as a man. Ms Bardon manages the difficult feat of acting a woman pretending to be a man convincingly which is obviously quite different from a woman acting a man. I won’t try and describe the singing performances individually because I would just end up using “stylish” way too much. These are all thoroughly idiomatic Handel performances with tasteful decoration, lovely legato and accurate coloratura. The two sisters Romilda and Atalanta are played by sopranos Isobel Bayrakdarian and Sandrine Piau. It was a real pleasure to be reminded of what a fine Handelian Bayrakdarian was right at the start of her career. Her singing is just gorgeous. Piau is great too. She has great comic timing in a role that really needs it and she also gets the most coloratura fireworks which she handles very well indeed. The guys who play guys are Marcello Lippi as girls’ father, Ariodate, and Matteo Peirone as the servant, Elviro. These are both essentially buffo roles and both men are well up to them. I don’t think I’ve heard M.Rousset and his Les Talens Lyriques before but they are as good a Baroque band as I have come across. The chorus doesn’t have much to do but it does fine with what it does have. All in all, it’s very satisfying musically and dramatically.
Direction for TV/DVD is by Philip Behrens and it’s OK. There aren’t too many intrusive close ups though it’s a 4:3 picture so some of that is a bit inevitable. Picture quality is pretty typical of TV to VD productions. Sound options are PCM stereo or Dolby 5.1. The surround version sounded very good. There are no extras on the disk and the documentation is pretty basic. It’s a Euroarts production.
There’s a ten minute trailer up on Youtube that gives a really pretty good idea of what to expect though it’s a bit short on comedy and there’s no Sandrine Piau. Here it is.
And here’s some Sandrine Piau.