Texte paru dans: / Appeared in: |
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Reviewer: John
W. Barker
Carlo Broschi (1705-82), who
used the professional name of Farinelli, was probably the greatest and most
celebrated of the castrato singers who dominated the opera houses of Europe
in the 18th Century. His contemporaries praised not only his fabulous
artistry, but also his warm and genuine personality.
This recording, made at a
concert in Bergen in May of 2011, explores music from operas he sang
in—usually composed for him. There are 10 arias from 5 composers he
collaborated with. Nicola Porpora (1686-1768), his teacher and guide, is
represented 3 times, and American Record Guide 191 the singer’s older
brother, Riccardo Broschi (1698-1756) is sampled twice. There are 2 pieces
from Gemimiano Giacomelli (c.1692-1740) and Leonardo Leo (1694-1744), and
one from Johann Hasse (1699-1783). As a supplement, two arias are added from
operas by Handel, including the familiar ‘Lascia ch’io pianga’ from Rinaldo,
even though Farinelli never sang them. The robust voice of mezzo-soprano Ann Hallenberg is a plausible match to what Farinelli’s must have been like. Her rich tone, her vigorous address, and her superb precision are joined with a sensitivity to moods. She can be warm and gentle or fiercely athletic, as the piece requires. I do wonder if her slightly fluttery singing fits in vocal literature that must have been treated with a somewhat more “straight”, even vibratoless sound. Also, little is said in the album about the matter of embellishments. I could detect some (notably in the famous Handel selection), if not too much. Still, so much of the music designed for Farinelli was already full of florid and supervirtuosic passage work that there was little room for more. Rousset and his well-established ensemble supply colorful and highly spirited support. The recording is exemplary. The booklet contains extended notes that not only give a thorough biographical picture but fit the concert’s selections into that context. There are also full texts and translations. Among the growing number of recorded reincarnations of long-dead singers, this one is certainly an outstanding example. | |
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