United Kingdom Handel, Corelli, Tragic Handelian figures: Ambroisine Bré (mezzo-soprano), Les Talens Lyriques / Christophe Rousset (diirection and harpsichord). Wigmore Hall, London, 5.2.2023. (CC)
Handel – Notte placida e cheta, HWV142 (1707/8); Giulio Cesare in Egitto, HWV17 (1724): Cara speme, questo core; Svegliatevi nel core; Arianna in Creta, HWV32 (1733/4): Son qual stanco Pellegrino; Trio Sonata in B minor, HWV386b / Op.2/1 (1733); Agrippina condotta a morire, HWV110
Corelli – Trio Sonatas: G minor, Op.3/11 (publ. 1789); G main, Op.2/12 ‘Ciaccona’ (1685)
A pared-down Les Talens Lyriques visited the Wigmore this specific January night. A trio of Trio Sonatas (two Corelli, one Handel, plus a Chaconne ‘bonus’) punctuated the ‘Handelian figures’ of the title. Mezzo-soprano Ambroisine Bré has impressed earlier than, as Calliope/Iris/Syrinx/Hebé in Luly’s Isis in a live performance efficiency at Versailles (evaluate click on right here). She has a stunning voice, enticing, and notably profitable in additional legato, slower music.
Christophe Rousset performed on an exquisite copy of a Carlo Grimaldi harpsichord by Andrew Woodison. Worth noting that Rousset, whereas he has the figured bass in entrance of him, improvises on it throughout the efficiency – certainly a part of the spontaneity one feels.
The Handelian journey right here started with the secular cantata Notte placida e cheta (Calm and soundless night time). It accommodates some fascinating writing, not least Handel’s propensity for actually bringing the music to a full cease within the first aria, ‘Zeffiretti, deh! Venite’ (Come, of ye zephyrs), providing punctuating moments which can be most arresting. Bré’s voice was of the utmost expression; recitatives have been blissfully unrushed, permitting every syllable to register. The grace she and the gamers of Les Talens Lyriques dropped at the music was exceptional.
Violinists Simone Pirri and Gabriel Grosbard appeared as one, particularly when effortlessly tossing phrases between them; and what an excellent halo of sound they created round Bré’s voice within the Accompagnato, ‘Ma già che spande’ (But even now I really feel the calm …) and the way decided they have been opening the ultimate aria, ‘Che non si dà’ (That no-one can obtain). With Rousset impeccable as at all times on harpsichord and Emmanuel Jacques providing an expressive bassline, every little thing was in steadiness. The second aria, ‘Per un istante’ (For an on the spot) was vibrant and had essentially the most pleasant spring in its step (maybe only a contact extra definition within the vocal melismas would have sealed the deal); and the way beautiful the repetitions of ‘Son felice’ (I’m pleased) within the penultimate aria, ‘Luci belle’ (Lovely eyes).
Those two violinists got here to the fore in Corelli’s Trio Sonata in G minor, Op.3/11 (the Trio Sonatas Op.1 and Op.3 are church sonatas, these of Op.2 and Op.4 are chamber sonatas). Projection within the preliminary Largo was completely judged for Wigmore’s acoustic. It was Pirri initially who got here into his personal right here, earlier than we heard the 2 violins change strains, hovering over one another in flip. A powerful expertise, the very essence of Corelli. A vigorous Presto might hardly put together one for the depths of the Adagio, whereas playful imitation formed the finale. But the Ciaccona from the G Major Trio Sonata, Op.2/12 takes us to new areas. Almost Handelian in its opening dignity, the piece unfolds naturally through masterful counterpoint. It was a pleasure and privilege to listen to this music (which ought to get way more performances than it often does) carried out to such elevated requirements.
Finally for the primary half, two arias from Handel’s Giulio Cesare (1724, revised 1725-30). There was no recitative previous ‘Caro speme’ (Dearest hope), making it all of the extra spectacular that Bré’s slurs have been so excellent. Rousset and his gamers created a delicate tread over which Bré’s strains softly unfolded. Incredibly touching, this led to the right distinction of ‘Svegliatevi nel core’ (Awaken my coronary heart) – itself an aria of two contrasting sections, the energetic, vibrant ‘Svegiatevi nel core’ and the slower, darker shaded ‘L’ombra del genitore’ (The shadow of my father). The return to the A piece definitely made an influence, too.
One of Handel’s lesser-known operas, Arianna in Creta (1733/4) was staged by the London Handel Festival in 2014. ‘Son qual stanco Pellegrino’ (I’m like some weary traveller) options the cello prominently (superbly, effortlessly, seamlessly delivered by Jacques). Some pretty decorations of line from Bré within the A1 part sealed the deal. A exceptional aria with cello obligato that fashioned the right second half opener.
The Handel Trio Sonata in B Minor, HWV 386b is a piece of extraordinary invention. Dialogues on this event have been completely managed between the 2 completely equal violins (Grosbard including an virtually smoky sound to the combination). The Largo was a second of peace profound, Pirri’s decorations completely in model and sounding as in the event that they have been improvised. Such was its spell that the impact of the Largo lingered by means of the finale.
Finally, a dramatic secular cantata, Agrippina condotta a morire of round 1707/8 (not 1807/8, because the Wigmore Hall’s programme sheet claimed). This is a exceptional cantata: Agrippina is condemned to loss of life for her plottings (the poisoning of her husband to make her son Nero Emperor). Basically, she is livid on this cantata: she asks Nature to mirror her plight in her first aria (‘Orrida, oscura l’etra si renda’ / Let the sky turn into horrible and darkish) in her second aria, she asks to ’flip the tyrant to ashes’ (Renda cenere il tiranno); additional highlights embrace the road ’Cada lacero e svenato’ (Let him fall, lacerated and bleeding). While there was lots to admire in Bré’s supply (together with a notably pressing first recitative), it was laborious to find the fury on the coronary heart of this piece. Listen to Kate Lindsey with Arcangelo and Jonathan Cohen on Alpha (a disc entitled Tiranno) to actually hear the measure of this piece.
One encore: Handel’s ‘Piangerò la sorte mia’ from Act III Scene 3 of Handel’s Giulio Cesare, maybe the right encore, blessed with a stunning vocal trill and excellent violin decorations above the solo line within the repeated ‘A’ part.
Ambroisine Bré will sing the title function in Grétry’s Andromaque on the Grand Théâtre Massenet, Opéra Saint-Étienne on March 8, 10 and 12, a manufacturing carried out by Guido Prandi and directed by Matthieu Cruciani.
Colin Clarke