Tag Archives: Händel Festspiele 2018

Joyce DiDonato with il pomo d'oro at the Händel Festspiele

WAR AND PEACE IN HALLE, DIDONATO WINS

Händel Festspiele Halle 2018,  26 May, 2018 Georg-Friedrich Händel Halle

Correct me if I am wrong, but surely the Kansas-born mezzo-soprano Joyce DiDonato is our generation’s biggest opera diva. On top of that a prima donna who doesn’t put on any airs. The opposite is true. She gives a lot of time to good causes and is genuinely interested in working with young singers. She also believes that “Art is a valiant path to peace”. But I struggle to conceal my cynicism when the audience is handed a Hallmark invitation card  at the entrance of the concert hall in Halle with a personal greeting from DiDonato. It contains  a few thoughts about discord and harmony and the belief that art unifies.  And then she poses a question which she hopes that we find time to answer and post in the box provided for that purpose : “…in the midst of chaos, how do you find peace?’ I have to confess that I didn’t fill in an answer. I let DiDonato’s singing do the talking.

On her whirlwind tour to two cities in the former East Germany DiDonato also found time to pick up a couple of awards. Halle is Handel’s birthplace and DiDonato, who is the composer’s foremost interpreter in the US, was given the town’s prestigious Händel-Preis. This price doesn’t include a remuneration, it is simply a mark of distinction. Two days later DiDonato appeared in Dresden (which lies 130 km further east), where another splendid music festival is taking place simultaneously as the Handel festival . The Glashütte Original MusikFestspielPreis (offered by a local watchmaker) does come with a decent sum of money, € 25,000. DiDonato decided to donate the prize money to El Sistema Greece, an organisation that provides regular music education for children who live in refugee camps in Hellas (Greece).

Yes, proof, if needed, that DiDonato is not only an internationally acclaimed opera star, but also has plenty of heart.

DiDonato wants your response ©️Brooke Shaden
DiDonato wants your response ©️Brooke Shaden

The modern Georg-Friedrich-Händel Halle in Halle rarely gets used during the festival (see also my previous blog from the festival). Its capacity is greater than the audience numbers that most of the Händel festival concerts and performances attract. Joyce DiDonato and Il pomo d’oro have no problem filling the large concert and congress hall. People fly from all over the world to see DiDonato perform.

When the audience enters the auditorium the artist is already on stage, albeit in the shadows upstage left and therefore many audience members don’t spot her straight away. She is dressed in clobber designed by Vivienne Westwood but not as heavily made up as she is on the cover of the CD ‘In War and Peace, harmony through music’(2016). Clearly visible in the foreground, and naked from the waist up, sits a dancer on the floor, face down. A low hum can be heard through the sound system. This sets the serious and solemn mood of the concert. Unfortunately the audience starts to clap when the orchestra enters and that upsets the momentum temporarily. DiDonato has together with the film director Ralf Pleger created a kind of Gesamtkunstwerk in which voice, music, dance, costumes and lighting design are meant to come together. I have my doubts about the necessity of this concept. If DiDonato was a lesser singer I would perhaps welcome this approach, but I ‘d rather concentrate on her voice and watch the excellent orchestra than be distracted by a lone dancer and the occasional flickering lighting effects.

The recording of ‘In War and Peace’ features even (out of fifteen arias)  by Handel. In this concert she presented in total nine arias and a song (by Richard Strauss and not featured on the album). Six were composed by Handel.

The first half of the concert concentrated on five different heroines who are embroiled in deadly conflicts. The arias all deal in one way or another with war.

In the opening DiDonato flung herself into ‘Scenes of horror, scenes of woe’ aria from Handel’s oratorio Jephtha. The audience luckily cottoned on pretty quickly to the fact that they were not meant to clap after every song. There was a superb , slowly intensifying rendition of Henry Purcell’s ‘When I am laid in earth’. The mezzo-soprano turned this lament a few years ago into a tribute to victims of intolerance and injustice when she performed it in The Stonewall Inn, the famous gay bar in Greenwich Village.

Sitting on the stage she finished the first half of the concert with a very fine, pianissimo and lentissimo rendition of ‘Lascia, ch’io pianga mia cruda sorte’ (from the opera Rinaldo).

DiDonato can create magic out of thin air ©️Brooke Shaden
DiDonato can create magic out of thin air ©️Brooke Shaden

Throughout the concert Il pomo d’oro performed a number of instrumentals to allow DiDonato’s voice some rest in between arias. This was an opportunity for the orchestra (and the dancer) to shine. Il pomo d’oro play on period instruments and they mainly specialise in opera. Emilio de Cavalieri considered that his work Rappresentatione di anima, et di corpo (1600) was the very first opera and that was reason enough for the ensemble to give us the sinfonia from that work.

The young Russian Maxim Emelyanychev, who next year will become the Scottish Chamber Orchestra’s principal conductor, put Il pomo d’oro through its paces. Maxim conducts with gusto, occasionally jumping up from his harpsichord to stress a bar, a note here and there.. He also turned out to be very adept at playing the cornetto. An even bigger surprise came in the second half when Anna Fusek, one of the second violinists, got up from her seat to join DiDonato downstage. Fusek proceeded to play the tricky soprano flute solo in Handel’s charming aria Augelletti (Little birds, you who sing, Little zephyrs, you who breathe) from Rinaldo!

Joyce DiDonato doing her best Stevie Nicks impression ©️Brooke Shaden
Joyce DiDonato doing her best Stevie Nicks impression ©️Brooke Shaden

in the second half of the concert DiDonato returns barfoot. The second half is supposedly devoted to peace, but Purcell’s ‘They tell us that you mighty powers above’ (from The Indian Queen) is sung by the Inca Princess Orazia while she is waiting to be put to death together with her lover, the Aztec Montezuma. DiDonato and the orchestra perform this piece at speed as if there is no time to lose for contemplation. It is rather odd that on her album this aria is featured in the War section. There is more Handel with the virtuous Susanna bathing naked in ‘Crystal streams in murmurs flowing’ (from the oratorio Susanna). But this peaceful scene will after this aria be disturbed when the two dirty old men, that have perved on her, reveal themselves and demand sex.

DiDonato’s encore is Handel’s well-known Dopo Notte which is not included on the War and Peace album. But after a concert with much darkness and turmoil it is wholly appropriate to end on a positive note. because indeed: Dopo notte, attra e funesta, splende in ciel piu vago il sole (After night, dark and mournful, the sun shines more radiantly).

Svitlana Slyvia (Selene), Filippo Mineccia (Demetrio) get ready to share a selfie with the Halle audience.

BERENICE FINALLY CONQUERS HÄNDEL FESTSPIELE

The Handel festival has taken place on an annual basis in the composer’s birthplace Halle, Saxony-Anhalt, since 1952. This year’s premiere of the original Italian version of the opera Berenice means that all of Georg Friedrich Händel’s 42 operas have been staged in Halle, which is a feat that no other city can boast (according to the festival organisers). This Handel festival (there are two others in Germany)  features many local productions, but this year some of the baroque genre’s most celebrated singers are visiting Halle : Joyce DiDonato, Magdalena Kožená, Nathalie Stutzmann and Max Emanuel Cencic are among the solo performers.

An anti-German clique, absurdly with the support of the Prince of Wales (an Hanoverian!), started the Opera of the Nobility company in London. Händel’s company, the Royal Academy of Music, couldn’t compete with the star-studded casts that the upstarts presented. This caused Handel a lot of stress and a month before the premiere of Berenice, Regina d’Egitto in 1737 the composer suffered a mild stroke or possibly even a heart attack. This meant that he neither conducted or attended the premiere of the new work. It is often reported that the opera was a failure with the public but there is no actual evidence of that. But it is a fact that the work until recently was rarely performed and was dismissed by most experts. The minuet from the overture continued to be popular in versions for different instruments.  eleven years later Handel included the sinfonia from the third act in the overture to the famous Music for the Royal Fireworks.

 Svitlana Slyvia (Selene) is slumming it
Svitlana Slyvia (Selene) is slumming it © Anna Kolata

The subject of this opera seria in three acts is the queen of Egypt, Cleopatra Berenice III. The libretto is only very vaguely based on historical facts. Rome, which rules over Egypt, wants Berenice for political reasons to marry her stepson Alessandro, who has actually fallen in love with her. The queen on the other hand loves Demetrio, but he is already romantically involved with her sister Selene. And to complicate it all there is the Egyptian prince Arsace who is in love with Selene. What ensues is a classic tale of thwarted romances and erotic encounters.

Berenice doesn’t display the musical fireworks that you can find in some other Händel operas and by his standards it is a fairly restrained piece. In that sense this  exuberant staging at the Halle Opera seems to suggests the opposite.

The Berenice possie get ready for a groupfie
The Berenice possie get ready for a groupfie © Anna Kolata

Director Jochen Biganzoli sets the action firmly in today’s self(ie)-obsessed world. One can see parallels with vainglorious circles during the Baroque period, but this production at times works a little bit too hard at dragging the plot into modern times. The costumes are a mixture of contemporary and historic but the set is modern. Handel’s operas and oratorio have a tendency of becoming rather static and this is where the revolving stage comes to  good use, particularly when it turns fast like a carousel with the characters chasing after each other through adjacent rooms. But the backdrop, which projects a mixture of various news media updates and messages sent in various forms between the characters, is in the long run a terribly distracting concept. It works for half an hour and then it gets tedious. Biganzoli charges the piece with narcissist and voyeuristic aspects and he is right in stressing sex as a political weapon

If you want to stay with the spirit of this opera it is closer to the Age of Enlightenment than our modern media age. But Biganzoli’s argument for a total visual overhaul of the plot is, all told, pretty successful.

With the risk of sounding patronising I was surprised by the high standard of some of the Halle Opera ensemble’s own singers. The soprano Romelia Lichtenstein might be slightly too old for the role of  queen Berenice but her voice shows no signs of aging. She was splendidly furious in the Traditore, traditore aria and effortlessly nailed the bravura aria Chi t’intende which ends up as a duet between queen and the oboe. It was the production’s highlight and most tender moment when Romelia, dangling her legs in the orchestra pit, sat next to the standing (and rather brilliant) oboist. It all ended comically with the pair sharing a selfie.

Ki-Hyun Park (Aristobolo) and the burlesque dancers
Ki-Hyun Park (Aristobolo) and the burlesque dancers do their thing. © Anna Kolata

Berenice’s sister Selene is turned into a comical character with a strong sex drive. The Ukrainian mezzo-soprano Svitlana Slyvia handles all that is thrown at her by the director with aplomb (including the heavily tattooed look) and it could easily have become a 3D printout of a cutout cardboard, but Slyvia manages to give the role plenty of depth. This in-house production features a number of guest stars. Demetrio is the most multi-facetted male character: he plots against Berenice, together with her younger sister Selene, while at the same time pretending to be the queen’s lover. The Italian countertenor Filippo Mineccia portrays the  jealousy and lust for vengeance in the Su Megera, tesifone, aletto! aria very well. Demetrio’s Si, tra i ceppi aria is easily the opera’s most recognisable and here Mineccia didn’t let us down either. His rather ridiculous cool-lover-man act was greatly helped by his silly Kenny G perm wig.

I expect in the near future to hear more from Samuel Mariño, the young Venezuelan countertenor with a soprano voice. He more or less stole the show and got the biggest and longest applause at the end. His lovelorn Alessandro walked around with a naive smile while  clinging on to a giant coke with a straw. It was almost inevitable that this little-boy-lost would win the queen’s hand in the end. In the voice department  Mariño could still learn a trick or two, but he already has a remarkably assured stage presence and is still fairly inexperienced.

Conductor Jörg Halubeck doesn’t let the, at times frantic, action on stage affect the music and he keeps the very competent Handelfestspielorchester der Staatskapelle Halle in check. Handel’s arrangement was only for strings, oboes and basso continuo (in this case a harpsichord) and why Halubeck (?) deemed it necessary to add some modern style percussive effects to the score, is not clear. The score is quite descriptive as it is and  I think it suffices that  mobile ringtones played on harpsichord and other instruments have been added for comical effect.

But I do recommend you catching this production, particularly with this cast in place.

There will be two more performances during the Händel festival: June 2 and 7 at the Oper Halle.