Emmanuelle Haïm / Le Concert d'Astrée HANDEL Aci, Galatea e Polifemo
This Italian-language, Neapolitan "cantata a tre" from 1708 bears no resemblance (save for the Aci-and-Galatea-are-in-love-and-the-hideous-Polifemo-loves-Galatea-so-he-kills-Aci aspect of the plot) to the composer's better-known English-language Acis and Galatea, written 10 years later in London. The later work includes extra characters and a chorus. Here the burden of the story and music lies with three soloists and an orchestra, colorfully including recorders, trumpets, oboes, and a bassoon in addition to a string/continuo section with a lute or two, organ, and harpsichord.
The work is great fun and contains wonderful music, some of which Handel re-used elsewhere: Polifemo's brazen entrance aria (with a few alterations) was later given to the villainous Argante in Rinaldo; other bits show up in Il Pastor Fido and Poro. The characters and situations range from Arcadian perfect love to mustache-twirling wickedness and hard-felt grief (expressed by Galatea after Aci is killed).
The soloists are nearly ideal. Aci is sung by soprano Sandrine Piau (the role was composed for soprano castrato), and despite her entirely feminine sound, she manages to convey a certain force. Indeed her singing of "Che non può la gelosia", with its incredibly florid line expressing anxiety over jealousy and Polifemo's insane passion for Galatea, is a most determined piece. And elsewhere she's just as good. (In a 1988 recording, the part was taken by Emma Kirkby who sang it beautifully but less ardently.) Sara Mingardo is the Galatea, and her strong moments, such as "Benché tuoni", in which she refuses to give in to Polifemo's advances, are as impressive as her touching opening aria and her final lament. Her rich, dark-hued sound is a perfect foil for Piau's brighter tone.
The star turn in this opera, however, is the role of Polifemo. He may be a stock villain (well, if a giant Cyclops--the same one later blinded by Odysseus--can be stock), but his music is anything but. The opening aria is a coloratura showpiece, and his slow, six-minute "Fra l'ombre e gl'orrori", in which he feels sorry for himself, realizing that Galatea would rather die than be his, requires a range from low-D to the high-A more than two octaves above it. Laurent Naouri (billed as a baritone, but I beg to differ) has all the notes and manages to sing the words expressively to boot. Polifemo is a sarcastic bully and Naouri works past the role's nearly impossible demands to create a real monster.
Le Concert d'Astrée plays stunningly under Emmanuelle Haïm. Where, with music this expressive, another conductor might be tempted to allow the roles and instrumentalists to simply play themselves, she leads the full orchestra with the same careful touch with which she approaches the frequent obbligato parts (one aria is accompanied only by harpsichord). The sound is glorious--clear and clean. The 1988 recording under Charles Medlam (on Harmonia Mundi) still stands up well, but this one is even better. This is a fascinating work, full of the surprises only the young, fecund Handel could muster. (Robert Levine, ClassicsToday.com)
The work is great fun and contains wonderful music, some of which Handel re-used elsewhere: Polifemo's brazen entrance aria (with a few alterations) was later given to the villainous Argante in Rinaldo; other bits show up in Il Pastor Fido and Poro. The characters and situations range from Arcadian perfect love to mustache-twirling wickedness and hard-felt grief (expressed by Galatea after Aci is killed).
The soloists are nearly ideal. Aci is sung by soprano Sandrine Piau (the role was composed for soprano castrato), and despite her entirely feminine sound, she manages to convey a certain force. Indeed her singing of "Che non può la gelosia", with its incredibly florid line expressing anxiety over jealousy and Polifemo's insane passion for Galatea, is a most determined piece. And elsewhere she's just as good. (In a 1988 recording, the part was taken by Emma Kirkby who sang it beautifully but less ardently.) Sara Mingardo is the Galatea, and her strong moments, such as "Benché tuoni", in which she refuses to give in to Polifemo's advances, are as impressive as her touching opening aria and her final lament. Her rich, dark-hued sound is a perfect foil for Piau's brighter tone.
The star turn in this opera, however, is the role of Polifemo. He may be a stock villain (well, if a giant Cyclops--the same one later blinded by Odysseus--can be stock), but his music is anything but. The opening aria is a coloratura showpiece, and his slow, six-minute "Fra l'ombre e gl'orrori", in which he feels sorry for himself, realizing that Galatea would rather die than be his, requires a range from low-D to the high-A more than two octaves above it. Laurent Naouri (billed as a baritone, but I beg to differ) has all the notes and manages to sing the words expressively to boot. Polifemo is a sarcastic bully and Naouri works past the role's nearly impossible demands to create a real monster.
Le Concert d'Astrée plays stunningly under Emmanuelle Haïm. Where, with music this expressive, another conductor might be tempted to allow the roles and instrumentalists to simply play themselves, she leads the full orchestra with the same careful touch with which she approaches the frequent obbligato parts (one aria is accompanied only by harpsichord). The sound is glorious--clear and clean. The 1988 recording under Charles Medlam (on Harmonia Mundi) still stands up well, but this one is even better. This is a fascinating work, full of the surprises only the young, fecund Handel could muster. (Robert Levine, ClassicsToday.com)
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